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zMine 

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MOTHER MINE 

A Play that Reaches the Heart 

In Three Acts 



Gladys Ruth Bridgham 

n 

AUTHOR OF 

**fray Doivn Along," "Step Lively," 
"The Thirteenth Star," etc. 




CHICAGO 
T. S. DENISON & COMPANY 

Publishers 



'^'b%4 






"I can just remember two loving blue eyes, 
and a warm cheek pressed close to mine. I can 
still taste the salt of tears. That must have 
been my Mother." 



cNOTICE 

PRODUCTION OF THIS PLAY 
■*- is free to amateurs, but the sole 
professional sta^e rights, as well as 
motion-picture and fiction rights, are 
reserved by the Publishers. 



COPYRIGHT. 1922 
GLADYS RUTH BRIDGHAM 

©C1.0 01494 

JUL 24 1922 



MOTHER MINE 



FOR SIX MEN AND SIX WOMEN 



CHARACTERS. 

(In the order in which they appear or speak.) 

Cynthia Whitcomb The Deacon's Wife 

Miranda Peasley ^'Mother Mine'' 

Martha Tisdale A Neighbor 

Lettie Holcomb With a Nose for News 

Lillian Whitcomb The Deacon's Daughter 

Mary Tisdale Martha's Daughter 

John Whitcomb The Deacon 

Jack Payson The Merchant's Son 

Joe Payson The Merchant 

Jerry MacConnell. Th^e Newcomer 

Officer Lewis From Boston 

Sam Blunt The Constable 



Place — The entire action of the play occurs in the sit- 
ting room of Miranda Peasley' s home in 
Tapley Village, Maine. 



Time — The Present. 



Time of Playing — About Two Hours. 



SYNOPSIS. 

Act I. An evening late in August. 
Act II. Three weeks later than Act I. 
Act III. Two days later than Act II. 

3 



MOTHER MINE 



COSTUMES AND CHARACTERISTICS. 

Miranda — A sweet little woman of the old-fashioned 
type, made up to appear about 50 years old. She 
must represent the type of woman whose heart remains 
warm and youthful through the years, always in per- 
fect sympathy and understanding with the joys and 
sorrows of young people. She is bright and happy and 
altogether wholesome, yet there is an underlying touch 
of wistfulness in her character. She is just the sort 
whom any fellow could well be proud to hail as "Mother 
Mine !" Her white hair is done in curls, not of the old- 
maid corkscrew type, but in soft ringlets. She wears 
a black silk dress with white collar and cufFs for Act I ; 
house dress and gingham apron for Act II ; black dress 
and white cap and apron for Act III. 

Cynthia Whitcomb and Martha Tisdale — Country 
women about 45 years old. Dressed up for the wedding 
with wraps to put on off stage, in Act I ; everyday ap- 
parel for Acts II and HI. 

Lettie Holcomb — A maiden lady of uncertain years 
with a highly developed sense of curiosity. Her taste 
in dress runs to bright colors. Her wedding finery for 
Act I should be rather extreme, but not burlesque. 

Lillian Whitcomb — Has been away to school in 
Boston. She is about 18 years old. She wears up-to- 
date clothes. White dress for Act I; linen suit and 
straw hat for Act II ; taffeta travelling dress and hat 
for Act HI. 

Mary Tisdale — A very pretty girl about 16 years 
old. She is of the shy, sweet type. Simple white dress 
for Act I; gingham dress for Act II; blue serge dress 
for Act HI. 

John Whitcomb — A stern man, but one who tries to 
deal fairly with friend and enemy alike ; about 50 years 



MOTHER MINE 



old. Wears his "Sunday best" for Act I; brown linen 
suit for Acts II and III. 

Jack Payson — A likeable college boy, about 21 
years old. Wears up-to-date suits for Acts I and III; 
blue overalls and a red cap for Act II. 

Joe Payson — A shrewd trader and a hard loser; 
about 50 years old. Wears a common suit, unpressed 
and rather shabbj^, for Acts I and III; a white linen 
duster over his suit in Act II. 

Jerry MacConnell — Happy-go-lucky and of limit- 
ed education, but with a high sense of honor, and thor- 
oughly likeable ; about 17 years old. He is made up to 
look thin and pale in Act I, and with a trace of it still 
remaining in Act II ; healthy tan in Act III. Wears 
shabby suit and cap for Act I ; blue overalls and red 
cap, similar to Jack's, for Act II; strictly up-to-date 
suit and cap for Act III. 

Officer Lewis — Not a burlesque detective, but a 
likeable, though firm, individual; about 35 years old. 
Neat blue suit and straw hat. 

Sam Bluxt — Not a burlesque "constabule," but sim- 
ply rather dense, though with good intentions. Blue or 
brown suit, black felt hat. 



MOTHER MINE 



PERSONAL PROPERTIES. 

Cynthia — Bag of rice. 

Miranda — Glass of milk; dish of bread and cold 
meat ; tin basin ; towel ; bandage ; handkerchief ; glass 
of milk ; plate of gingerbread ; stack of dishes to carry. 

Martha — Old shoe. 

Lettie — Lighted lamp. 

Lillian — Rose ; sealed envelope. 

Mary — Rose ; tablespread ; dish towel. 

Jack — Scaled envelope. 

Joe — Fountain pen ; paper to sign. 

Jerry — Letter in envelope; package with lace collar; 
pot of tea. 

For stage properties, see descriptions of stage set- 
tings. 



SCENE PLOT. 



Country Landscape Drop 



Plain Int. B^ 




Plat- 
form 



Steps 



Ostan 



Center 
1 Door r 



Cupboard 
R. LJ Phone 



Chairs 

D D 



Dining Table 



Window 



r o 



Sofa stand 

Arm I— 1 Fire- 
Chair'—' place \ Plain 

O MTnT 
Stool^ 




STAGE DIRECTIONS. 

Up stage means away from footlights ; down stage y 
near footlights. In the use of right and left, the actor 
is supposed to be facing the audience. 



MOTHER MINE 



The Scene represents the sitting room of Miranda 
Peasley's home in Tapley Village, early in an evening 
in the latter part of August. In the center of the rear 
wall there is an outside door. A door in the left wall, 
near the footlights, is supposed to lead into the parlor, 
and a door in the right wall, near the hack, is supposed 
to lead into the kitchen. {These two doorways may 
remain open throughout the play.) In the rear wall, 
at the right of the outside door, there is an opening 
approached by four steps which lead to a platform, and 
from this landing more steps lead up and off stage, to 
the right. (Note: // impracticable to include the 
stairway in the setting, use the door down left instead 
as an approach to the upper part of the house, and 
have only the three entrances first mentioned.) 

Left of the center door is a window, hung with white 
muslin curtains, through which a hit of country land- 
scape is visihle. A hird cage with a canary hangs in the 
window, and under the window is an old-fashioned sofa, 
upholstered in red. Against the left wall up stage is a 
fireplace, in front of which is a comfortable arm chair 
with a footstool. Over the fireplace hangs the framed 
portrait of a middle-aged man in the uniform of the 
Grand Army of the Republic. A pair of lighted 
candles and matches are on the mantlepiece. A small 
table, with a family album and a magazine or two, is in 
the corner between the fireplace and the window. 
Against the right wall, near the audience, is a china 
cupboard with dishes, and a telephone is on the wall 
alongside. Above the landing (or on the wall) is a 
motto, ''God Bless Our Home.*' At the foot of the 

7 



MOTHER MINE 



stairs (or against the wall) is a small stand with a read- 
ing lamp. In the center of the room are chairs and a 
round dining-room table, spread with a cloth and con- 
taining the remains of a wedding supper. A large 
paper wedding hell hangs in the center doorway, with 
paper streamers which lead to the dining table. The 
room is decorated with flowers and paper streamers and 
garlands. On the sofa is a cloth to be thrown over the 
bird cage. The outside door is open. 

Off stage back right is an auto horn. Off stage down 
left, near door, is a clock to strike ten. Off stage dozem 
right is a telephone bell to ring. 

Lights: Stage lights up full at rise. Rose-colored 
bunches back of rear flat, shining in door and window. 
Shortly after rise, gradually blend bunch lights from 
rose (sunset) to blue (moonlight), retaining blue 
bunches for balance of act. 

When the curtain rises, Miranda, Martha and Cyn- 
thia are on the stage. Miranda stands in the doorway, 
her left side toward the audience, looking outside and 
off right. Martha, holding an old shoe, stands just 
back of her, looking out over Miranda's shoulder. 
Cynthia, with a paper bag of rice in her hand, is kneel- 
ing on the sofa and looking out of the window. All 
three are excited. There is a murmur of friendly but 
excited voices off stage. An automobile horn is sounded 
off right, and voices are heard calling a confusion of 
farewells, such as, ^'Good luck!'' ^'Good-bye!'' ^'Don't 
forget to writer ''So long, AnnaT ''Docsnt she look 
sweet r etc. Cynthia begins the dialogue just after the 
horn is sounded. (Note: The off stage murmur should 
be kept subdued, so that the dialogue will be heard dis- 
tinctly.) 



MOTHER MINE 



Cynthia (throwing some rice out of the window^ 
calls). There they go! 

Martha {throwing the old shoe out of the door, 
calls). Good luck! 

Miranda (after a brief moment). Land sakes ! They 
won't get the rice outen their clothes for a year. 

(The clamor outside dies away.) 

Cynthia (turning from the window). Well, they're 
gone at last. 

(Martha turns idly away from the door, leaving 
Miranda there alone.) 

A Woman's Voice (from outside). Good night, 
Mirandy. 

Miranda (to someone outside). Oh, are you going? 
All of you? Won't you come in again? 

Mixed Voices Outside (all speaking together). 

No thank you. 

No, it's getting late. 

It was lovely, Miss Miranda. 

Good night. (Etc.) 

Miranda (replying). Good night; good night. 
(Turns and comes forward into the room, leaving the 
door open.) Well, that's over. 

Cynthia. And how you can be so cheerful about it ! 

Martha (wiping her eyes). Well, goodness knows 
I don't know what we're crying for. If ever a girl 
made a good match, it's Anna. 

Miranda. Yes. Ben's a real likely boy and I reckon 
he's going to make a good man. I'm real happy for 
Anna. 

Martha. You're the most unselfish woman, Mirandy. 
Brought up those three girls just as if they was your 



10 ' MOTHER MINE 



own, and now every one's got married and gone away 
to live. 

Miranda {looks toward picture over mantel and 
smiles). I got married once upon a time and went 
away. 

Martha. Well, I only hope I can be as brave when 
my Mary wants to go. Maybe if they'd been your own 
girls it would have come harder to you. 

Miranda. More'n likely it would, Marthy. 

Cynthia {to Martha). You don't need to worry. 
Your Mary'll never get a chance to have a beau while 
her pa lives. 

Lettie enters, center, from outside. 

Martha. Oh, don't say that, Cynthy ; though Hiram 
does say there ain't a man on earth good enough for 
Mary. 

Lettie. Hi better look out. Mary'll be jest the 
one to take up with a crooked stick. 

MiRANDY. Lettie, how you talk ! 

Lettie. Never knew it to fail. There was Lucy 
Sears and Carrie Holt and — 

Miranda. For goodness sake, forget about them, 
Lettie. 

Cynthia. What are 3^ou going to do now, Mirandy.^* 

Lettie. Yes, that's jest what I've been a wonderin'. 
You can't live here alone. 

Cynthia. No, indeed. 

Martha. Of course not. 

{The above two speeches are made at one time.) 

Miranda {thoughtfully). I wish I had a baby. 
Martha, Lettie and Cynthia {together, at the top 
of their voices). A baby.^ 
Martha. Well, did I ever ! 



MOTHER MINE 11 



Lettie. Be you crazy? 

Cynthia. What do you mean? 

Miranda (calmly). Jest what I said. I didn't 
mean to get you all stirred up. I was jest sort of think- 
ing to myself. I really didn't mean to say it, but it's 
the truth. I've wanted a baby all my life. 

Lettie. Well, I should think after being a mother 
to your sister's girls for nigh on to ten years — 

Miranda (interrupting). I want a boy. 

Martha, Lettie and Cynthia (together). A boy? 

Miranda (laughing). You're for all the world like 
three parrots. 

IMartha, Lettie and Cynthia (together, aston- 
ished). Parrots? 

Lettie (with a gasp). What ever in the world do 
you want of a boy? 

Cynthia (with a sudden idea). Why, to do her 
chores, of course. That's what she means. 

Miranda. No, it ain't what I mean. I want a son. 
There ain't a woman on earth who, down deep in her 
heart, doesn't want a son. 

Martha (slowly). I believe you're right. Jest the 
same as every man wants a daughter. 

Miranda. And what's more, I'm going to have one. 

Cynthia. Well, I'm beat ! 

Lettie. Miranda, you're plumb outen your head. 
You don't know what you're talking about. 

Miranda. Somewhere out in the world, there's a boy 
without any mother, who would like to live with a 
mother who ain't got any boy. 

Martha. You mean you're going to adopt a baby 
boy? 

Miranda. That's what I'm thinking about. 

Lettie. Mirandy ! At your age ! It's ridiculous. 



12 MOTHER MINE 

You've spent just about all you've got on the girls, 
and now to spend the rest on a young one who ain't no 
relation to you at all — well, I ain't got any words to 
discuss my feelings ! 

Miranda {dryly). The situation must be unusual. 

Lettie. No one ever heard the like. 

Cynthia. Where do you expect to find this baby.'^ 

Miranda. I ain't the least idea, Cynthy. I ain't 
worrying about that. I'm going to let the Lord send 
him. 

Lettie. Mirandy Peasley ! You ought to be took 
care of. All this excitement has unsettled your mind. 

Miranda. No, it's done jest the other thing. It's 
settled it. Don't get scared, Lettie. I ain't likely to 
get violent. 

Lettie. Well, I don't suppose you are. But I never 
heard such crazy talk in all my born days. 

Miranda. If we got a right desire in our hearts, 
Lettie, the Lord knov.s it. And He'll take cai'c of it, 
and we don't have to worry about how He's going to 
do it. 

L1L1.IAN enters through the open doorway at center, 
followed by Mary. 

L11.LIAN. Well, it's all over. Miss Miranda. Shall 
we help you clear up? 
Martha. Of course. 
Cynthia. What we been thinking of? 
Lettie. We all will. 

(They start to pick up the dishes from the table.) 

Miranda. No, no, it's getting late. We'll jest carry 
this mess into the kitchen and clear up in the morning. 

(Cynthia and Lettie go out, right, carrying things 
into the kitchen.) 



MOTHER MINE 13 



Martha. Mary can come over and help you. {Exit 
right with dishes.) 

Mary. Yes, I'd love to. 

Miranda. And I'd love to have you. 

Lillian (at table with Miranda, gathering dishes). 
Wasn't it a grand success? 

Miranda. It certainly was. And you young folks 
deserve all the credit. You made the prettiest wedding 
for my girlie. {Exit right with dishes.) 

Lettie returns from the kitchen, bringing a lighted 
lamp which she places on the small table, up right. 

Lillian (on way to kitchen with dishes, meeting 
Lettie). I got one of the bride's roses. (Turns to 
show a rose piimed on her dress, and exit right.) 

Mary (shyly). So did I. 

Lettie (sharply). A lot o' good it will do either of 
you. You better hide them, or your pas will lock you 
both up in convents. 

Mary goes into the kitchen with dishes as Deacon 
Whitcomb appears in the open door, from outside. 

Whitcomb (loudly). Wal, you Avomen folks going 
to stay all night .'^ 

Cynthia enters from the kitchen, followed by Mar- 
tha, while Whitcomb is speaking. 

Cynthia. Is it getting late.? 

Whitcomb. That's what it is. Henry is waiting 
for Marthy. Everyone else has gone home. 

Miranda enters from the kitchen, followed by Lil- 
lian. 

Martha. Mirandy is ready to drop. 

(Cynthia, Lettie and Martha exeunt, left, to get 
their things.) 

Miranda. Oh, no I ben't. 



14 MOTHER MINE 

(Note: The above business of clearing the table, 
•with its numerous exits and entrances, should be very 
thoroughly rehearsed so that no cues will be missed to 
retard the action of the play. If the table has not been 
completely cleared at this point, Mary may make one 
or more trips from and to the kitchen during the ensu- 
ing dialogue, to complete the work prior to her next 
regular entrance.) 

Whitcomb. You going to stay alone tonight, 
Mirandy ? 

Miranda. Of course I be. 

Lettie enters from the left with her wraps. 

Whitcomb. Don't you want one of the girls to stay 
with you ? 

Lettie. I'll stay. I can, just as well as not. 

Lillian. I'd jest as soon. 

Miranda. Not the least mite o' need o' sech fool- 
ishness. 

Cynthia and Martha enter from the left with their 
wraps. 

Lillian. Just for tonight, until you get used to it.? 

Miranda. Might jest as well get used to it tonight 
as any time. 

Martha. And you don't want no one to stay.? 

Miranda. No. 

Lettie. You always was terrible sot. Might jest as 
well save our breath as waste it talking to you. 

Miranda (smiling). Better, Lettie; much better. 

Whitcomb. Ain't you coming, Lillian.? 

Lillian. Mary and I are going to stay with Miss 
Miranda for a while. And then I'm staying over night 
with Mary. 

Whitcomb. That's what you'll be doing the whole 
summer. Well, I hope you'll stay over night with us 



MOTHER MINE 15 

once in a while. Your mother and I would like to get 
acquainted with you again. 

Lillian (laughing). Oh, dad, it's not quite as bad 
as that, is it.? I don't have to go back to school next 
year. I can stay home if you want me to, you know. 

Whitcomb (emphatically). No, I don't know. You 
started in to get an education, and there ain't nothing 
going to interfere with it. You understand what I am 
saying to you.? (He goes to the door.) 

Lillian (unimpressed). Yes, father. Don't worry. 
I won't let any thing interfere with your plans for 
my future. (Turns to Cynthia and kisses her.) Good 
night, mother. 

Lettie. Good night, Mirandy. 

Cynthia. We had a lovely time. 

Martha. Wouldn't have missed it for the world. 

(The three kiss Miranda and exeunt, center.) 

Miranda (calls after them). Good night. 

Whitcomb (from the door). Anything I can do for 
you, Miranda.? You know where I live. 

Miranda. Thank you, deacon. 

Whitcomb. Don't you girls stay here half the night 
and then start liome alone. 

Lillian. No, father. We'll be careful. 

Whitcomb (curtly). I vvi^^h I thought so. (Exits, 
center.) 

Mary enters from the kitchen, bringing a fancy 
spread for the dining room table, which is now clear. 
She and Miranda adjust the spread on the table, while 
Lillian goes to the window and looks out. Miranda 
gets the lamp from the side table. 

Lillian (coming forward). Miss Miranda, there's 



16 MOTHER MINE 



a package on the back step. It should have been here 
for the wedding. May I bring it in? 
" Miranda. Why, of course. 

Lillian runs out right, into kitchen, 

Miranda. What is it, for the land's sakes? I never 
missed anything. Do you know what it is, Mary? 

Mary (smiling), I think I can guess. 

Lillian enters from the kitchen, pulling Jack Pay- 
son after her. 

Lillian. All safe. Everyone has gone home. 

Miranda (turns cCnd sees Jack). Land o' Goshen! 
Jack Payson ! 

Jack (puts his arms around her and kisses her). 
Hello, Miss Miranda. Now, isn't this sweet of me, after 
the way j'ou've slighted me tonight? 

Miranda. Good land. Jack, I didn't know you had 
come home, and if I had, I couldn't have asked you. 
Why, the deacon was here and — (stops and turns to 
Lillian). Lillian Whitcomb, if your father knew you 
were in here with Jack — 

Lillian (interrupting). But he doesn't know, 
and what he doesn't know won't hurt him. 

Jack (reproachfully). You haven't gone back on 
me. Miss Mirandy? You know you always liked me. 

Miranda. Of course I did, and I do now. I set the 
world by you. Jack. But the deacon doesn't. (Sits 
hack of dining table, facing audience.) 

Jack (with a shout.) You've said something. 

Lillian (ruefully). And m^^ father likes Jack as 
well as Jack's father likes me. 

Jack. Isn't it idiotic? 

Lillian. Silly as a Kentucky feud. 

Mary (to Miranda). Couldn't you say something 
to Mr. Whitcomb and Mr. Pavson? 



MOTHER MINE 17 



Miranda. Me ? 

Maky. Yes. Everybody loves you so much ; they 
would take anything from you. 

Miranda. Well now, dearie, you've put me in a real 
hard position by saying that. I'll have to think whether 
I ought to sa}^ anything to them. I know love can do 
most anything. But goodness gracious. Deacon Whit- 
comb and Joe Payson — (Shakes her head.) 

Jack (grinning). Can't exactly see them holding 
hands, can you? 

Mary (sighs). And they've been like that ever since 
we were children. 

Miranda (thoughtfully). Yes, the trouble started 
the winter Jack's grandmother fell downstairs and 
broke her wrist. 

LiljLian. Tell us about it, ]Miss Miranda. (Sits at 
right of dining table.) 

Jack. Yes; what caused the feud.'^ (Sits at left of 
dining table.) 

Miranda. Well now, I don't know as I ought to re- 
vive what's be'n forgotten by most everyone except the 
deacon and Joe Payson. It was when they was giving 
the contract for the new school house. Your father, 
Lillian, was a contractor in them days. Well, when it 
come up to the council the deacon lost the contract. He 
was beaten by one vote. And he always maintained 
it was your father. Jack, that cast that vote. He 
accused him and they was high words. Your father 
didn't deny it. And the deacon and Joe Payson have 
be'n at daggers' points ever since. 

(During the above speech Mary sits at table between 
^Miranda arid Lillian, and listens to the ensuing dia- 
logue with natural interest.) 

Lillian. How silly ! 



18 MOTHER MINE 

Jack. I'll say so. Well, Lillian and I have never 
had any trouble, and our folks can't keep us from be- 
ing friends. 

Lillian. You see, Miss Miranda, Jack and I have 
seen a lot of each other this last winter, both going 
away to school in the same city. 

Jack {eagerly). We know each other a whole lot 
better than we ever did here at home. 

Miranda {with good-natured suspicion). Are you 
children in love with each other .^^ {She looks from one 
to the other.) 

Lillian {smiles and nods ''yes''). And we're going 
to be married some day. 

Jack {enthusiastically) . Just as soon as I can raise 
the money. And while we're away on our honeymoon, 
our folks can get used to the idea. 

Miranda {alarmed). Tut, tut! You mustn't think 
of that, children. 

Jack. Well, there's no immediate danger. Dad never 
lets me get my hands on a penny too much, and I work 
hard on the farm all through my vacation. It's a 
shame. 

Lillian {hopefully). Well, our parents can't part 
us forever. And they needn't try. Even if they do 
keep their eagle eyes on us now while we're at home, 
we'll find a way. 

Miranda. I wouldn't be a mite surprised. 

Lillian. We're interested in some of the same sub- 
jects, and w^e've done some of our studying together. 
And {eagerly), oh. Miss Miranda, will you do some- 
thing for us ? 

Miranda. Now, Lillian, you know I'd do anything 
on earth for you, or for Jack. But as for doing any- 
thing for the two of you together, I might be able to, 
and then again I might not. I guess it will depend. 



MOTHER MINE 19 



Jack. I don't believe you'll object when you hear 
about it. You see, LiUian and I are interested in literary 
work and we've started a romance. 

Miranda (surprised). I want to know! 
Jack. And we want to finish it. 

Miranda (quickUj). And you want to do it here? 
{Emphatically.) 'twouldn't never do in the world. 

Lillian (moof%). Not exactly that. We wouldn't 
come at the same time. I would do some writmg and 
leave it here in the morning, and Jack could call later 
and get what I had written and leave what he had 
written. See? 

Miranda (considering). Yes, and I don't see any 
earthly harm in it, either. , 

Jack. Of course there isn't. The harm would be in 
stopping our work when we are getting along so nicely. 
(TFmX-6' a f Lillian.) 

Lillian (to Miranda). Please say that we may. 
(Takes Miranda's right hand.) 

Jack (coaxing). Please, Miss Miranda. (Takes 
Miranda's left hand.) 

Miranda (tossing their hands aside m pretended 
sternness). Now, you stop, both of you! There isn t 
a boy or girl in this village who couldn't always wheedle 
the heart right out o' me. I'm that soft. 
Jack. It isn't being soft. Miss Miranda. 
Mary (softly). No, it's just love. ^ 

Lillian (patting Mary's hand). That's right, Mary 
MmAi^BA (desperately). There you all go again. I 
don't know how I could refuse, no matter what it was. 
But I'm glad this is something sensible you are doing. 
I can help you without feehng that I'm not doing right 
by your folks. (Rises.) 
Lillian. Then we may? 



20 MOTHER MINE 

Jack. It's all right? 

(Lillian and Jack speak together, and rise.) 

Miranda. Why, yes. You'd be running in to see 
me, anyway, and I'll be sure now that you both come 
every day. Guess I'm going to gain by it, too. 

Jack. Miss Miranda, you're a brick! {Hugs her.) 

Lillian. That doesn't express it! (Hugs her while 
Jack retains his embrace.) 

Mary (rising). We ought to be going, Lillian. 

Lillian. Yes, we ought. 

Jack. I'll go down the lane with you and then watch 
you the rest of the way. 

Lillian. No, you'd better not. We might just hap- 
pen to run into some one, and (giires him a warning 
looh) we don't want to spoil things now by taking a 
silly risk. 

Jack. That's right. But isn't it the limit! 

Mary. Good night. Miss Miranda. I'll be over the 
first thing in the morning. 

(As Mary goes to Miranda, Jack puts his arms 
around Lillian and kisses her, unnoticed by Miranda.) 

IMiRANDA. That's right, dearie. Good night, Lillian. 

Lillian. Good night. (Lillian and Mary go out 
through the center door.) 

Miranda (with a touch of sadness). Jack, I wish 
you'd take that wedding bell down. I don't believe I'll 
want to see it hanging there any longer. 

Jack (taking the bell down). All right. You're a 
brave little lady. Miss Miranda. I don't believe any of 
us realize how brave. It's too bad Anna had to go 
away to live. (After removing the bell, lie closes the 
outside door.) 

Miranda. No, 'tain't. Younff folks have the same 



MOTHER MINE 21 



right to make their hves that their folks did before 
them. We got a right to advise if we think they're 
going to spoil their lives, but we ain't got the right to 
interfere. 

Jack (admiringly) . Gee, don't I wish you were my 
father! (Turns toward the center door.) Someone 
coming, Miss Miranda. (Opens the door.) Why, dad, 
is it yon? 

Joe Payson enters, center door. 

Joe (gruffly). What are you doing, here? 

Miranda (stepping forward quickly). Good eve- 
ning, Joe. 

Joe (shakes hands with Miranda). Good evening, 
Miranda. (Turns to Jack.) I asked you a question. 

Jack (gathering up the bell and streamers). I'm 
helping Miss Miranda, just at this present moment. 

Joe (angrily) . You were at the wedding.'^ 

Jack (emphatically). I was not. 

Joe (suspiciously). I just saw Lillian Whitcomb 
coming from here. You been here with her.'^ 

Jack (stiffly). I object to this, father. It's bad 
enough when we're alone. We don't need to drag 
others in. 

Joe (sarcastically) . Is that so.? Getting high and 
mighty, ain't you.? Well, let me tell 3^ou, young man, 
I'll say just what I please to you, and just where I 
please to say it. Put that in y'r pipe and smoke it! 
You understand. 

Jack (takes a step forward, tJien stops and glances 
at Miranda). Perfectly, sir. (Turns to Miranda.) 
I'll put this stuff in the kitchen. (Exits right.) 

Miranda (gently). Joe, there ain't a mite o' need 
o' you getting all worked up over nothing. Lillian 
w^as here with Mary, and Jack came in. That's likely 



22 MOTHER MINE 



to happen in any house in the village, and at most any 
time. You can't expect that Jack and Lillian ain't 
going to meet this whole vacation. 

Joe. I'll see that Jack is so busy it won't happen 
often. 

Miranda (uncomfortably) . Did you come over here 
to see me about something, Joe.^ 

Jack enters, right, from the kitchen. 

Joe. Yes, I did. 

Miranda (calmly). Won't you sit down.'' 

Joe (taking a chair at right of table). Thanks, 
Mirandy. 

Jack (quietly). Would you like to have me wait 
for you, father.^ 

Joe (gruffly). Can if you like. 

Miranda. Joe Pay son, ain't you ashamed to. talk to 
your boy that way? The Lord was good when He gave 
you a son like Jack. (Sits back of table.) 

Joe. I haven't said He wasn't, have I? 

Miranda. Well, you act as if you doubted it the 
most of the time. 

Joe. Expect me to run around holding Jack's hand 
and calling him papa's boy.'' 

Miranda. Joe Payson, how you talk, 

Joe (with a grudging laugh). Sit down. Jack. I 
want to talk to Miranda for a few minutes and then 
we'll walk home together. I want your advice about 
some improvements I'm thinking about making on the 
house. 

Jack (sits on sofa by window). All right, father. 

Joe (trying to be pleasant). Suit you better, 
Mirandy ? 

Miranda. It sounds human, anyway. 



MOTHER MINE 23 



,JoE. Jack knows I mean all right. I've got his in- 
terests at heart, Mirandy. 

Miranda. No question about that, Joe. But I say, 
and I always will say, if we got love in our hearts, it 
pays to show it. 

Joe. Mirandy, what you planning on doing, now 
you're left alone? 

Miranda (slowly). Why — I haven't got around to 
doing any planning, Joe. 

Joe. I suppose you'll go and live with your brother, 
or something like that.'^ 

Miranda. No. I don't believe I want to leave the 
village. This is my home, and I love it. 

Joe. I, for one, would hate to see you leaving. But 
in case you want to sell this house and farm, I'd like to 
buy it. 

Miranda (surprised). You would.? 

Joe. Yes, that's what I come for; to get in ahead 
of anyone else. 

Miranda (smiling). Do you expect all the neighbors 
will be trying to buy me out? 

Joe. It might occur to someone else, same as it has 
to me. 

Miranda. It hadn't occurred to me yet. And if it 
had, the first thing I should have thought was how hard 
it would be to sell. 

Joe. No; that'll be the easy part. 

Miranda. I must say I'm surprised. Now you've 
mentioned it, I'll think about it. But I don't believe I 
want to sell. 

Joe. If you should decide that you do, I want you to 
promise that the first chance wijl be mine. 

Miranda. Oh, I'll promise that. But Joe, what do 
you want to buy my place for ^ 

Joe (evasively) . I can't tell you just now, Mirandy. 



24 MOTHER MINE 

It's like this. I — I'd want to keep some stranger from 
getting it, that's alL 

Miranda. You. can have the first bid. But I can't 
understand why anyone should want to buy my little 
farm. Ain't no gold or diamonds on it, is there, Joe.^^ 
(Laughs.) 

Joe {embarrassed). Well, no — I guess not. 

Miranda. Yes, you can have the first bid. They 
ain't likely to be no other. 

Joe. All right, Mirandy. I won't keep you up any 
longer. I just wanted to be the first to speak about it. 
We'll be going. Jack. (Turns to the door.) 

(Jack rises.) 

Miranda. How's Louisy.^ 

Joe. She's pretty smart. Probably you'll get more 
time to come visiting now. We're always glad to see 
you. (Opens door, then turns.) Glad to have you 
close up here and come and stay with us a spell. 

Miranda. Thanks, Joe. All the neighbors are so 
good to me. Good night. 

Joe (going out). Good night. 

Jack (following Joe). Good night, Miss Miranda. 

(Joe and Jack speak together, and exeunt, center.) 

Miranda (stands looking after them for a second, 
closes the door, then comes down to the fireplace and 
speaks to the picture). Now, that's what I call real 
kind of curious. Don't you, Hiram? What does Joe 
Payson want of our farm? (Clock strikes ten; she turns 
and speaks to the canary.) Land sakes, Dickie bird! I 
don't remember I ever kept you up as late as this before. 
(Covers bird cage, closes window, turns out the lamp; 
lights half down. She goes to the mantel and blows 
out one candle; lights three- quarters down. She takes 



MOTHER MINE 25 



the other candle, and speaks again to the 'picture.) 
This is the first time since jou left me, Hiram, that I've 
ever been all alone. I reckon it's time for a new chapter 
in my life. Well, we'll jest wait for the Lord to turn 
the page. {Exits upstairs, carrying the candle.) 

(Stage dark. Short pause.) 

Jerry MacConnell cautiously pushes window fur- 
ther open from outside. There is a ray of moonlight 
from this window. He steps in, misses his footing on the 
sofa, slips and falls forward on to the floor. He groans, 
turns, sits up and holds his ankle. 

Jerry (under his breath). Merry Christmas! 

Miranda enters and comes half way down the stairs, 
holding the candle over her head. Lights one-quarter 
up. 

Miranda. What for the land sakes has happened.'^ 

Jerry (quickly). Don't shoot! Don't shoot! (Holds 
his hands over his head.) I got both hands up. 

Miranda (coming down the stairs). Who is it.^^ 

Jerry. Only me. 

Miranda (coming forward). I don't seem to know 
your voice. 

Jerry. No, ma'am. We ain't acquainted. 

Miranda. Are you hurt? 

Jerry. I gave my ankle a twist. 

Miranda (standing by his side). Look up here. 

Jerry (looking at her feet and slowly elevating his 
glance). I wonder what'll I see when I reach tlie top. 
(She is holding the candle abozfc her head.) Liberty, 
enlightening the world! 

Miranda. How did you get in ? 

Jerry. Just dropped in. 

Miranda (puzzled). Where? 



26 MOTHER MINE 

Jerry. Through the window. 

Miranda. Did you knock? I didn't hear you. 

Jerry. No ma'am. I didn't knock. I hadn't any 
idea of disturbing anyone. 

Miranda (leaning toward him). Whose boy are 
you.-^ I don't remember that I ever seen you before. 

Jerry. You never did. 

Miranda. Where did you come from.^^ 

Jerry. .1 walked over today from Barretstown. 

Miranda. From Barretstown .^^ Why, you poor boy ! 
You must be tired to death. Here — give me your hand. 

Jerry (rising slowly). I can manage myself. I 
don't believe it's, very bad. It kind of took the starch 
out of me at first. {Leans on the table.) 

Miranda {pushes arm chair toward table). You set 
right here and let me see how bad you're hurt. 

Jerry. No ma'am. I'll go right along, if you ain't 
going to rouse the rest of the house. 

(Miranda laughs and lights the lamp. Stage lights 
up full.) 

Miranda. There ain't no one to rouse. I'm all alone 
tonight. Besides, we don't need no help. I can take 
care of you, even if you've broken your ankle. Where 
were you going .^ 

Jerry. I'm on my way to Terryville. I'm going 
over to the factory to get work. 

Miranda. Oh, yes. And did you think someone you 
knew lived here.? 

Jerry. No ma'am {turns away). Let me go. I'm 
so darned ashamed of m3^self I can't face you any longer. 

Miranda. Why, how you talk ! I don't mind if you 
did come in my house by mistake. 

Jerry. I didn't come by mistake. I intended to 
come. I'm down on mv luck. And vhen I saw your 



MOTHER MINE 27 



window open, I came in to — to — steal something to 
eat — and a little money^if I could find any — enough to 
take me over to Terryville. I ain't a burglar. I'm too 
amateur for that. But I'm the next thing to it. I'm 
a tramp. 

Miranda. Great land o' Goshen ! (Puts her hand on 
his shoulder and swings him toward her and looks at 
him.) Tramp? You ain't nothing of the kind. I've 
seen tramps, and you don't fill the bill at all. Why, 
you poor boy! You poor boy! Here! Sit down in 
this chair this minute. 

Jerry {wonderingly) . Sit down.'' 

Miranda. Yes, sit down. You're going to have 
something to eat and a bed to sleep in. 

Jerry {choking over his words). No — no — I 
couldn't. 

Miranda. Do you know anyone in this village? 

Jerry {beginning to grow weak, sways a little and 
leans on the table). No, ma'am. 

Miranda. Do you suppose I'm going to let you 
travel on — supperless, bedless and with a twisted ankle 
into the bargain? 

Jerry. You ain't afraid? 

Miranda. Afraid? Of what? 

Jerry. Of me. 

Miranda. You! Well, you do say the beatenest 
things I ever listened to ! Why, you have admitted you 
were a tramp, and that you came in here to steal. I 
could have the law on to you and have you took up, but 
I've captured you. You're my prisoner, and you're 
going to do as I say. If you go one step out that door, 
I'll call up the constable and put him on your track, and 
you ain't in no condition to get far tonight. {Firmly.) 
Now, you sit down! Do you understand me, young 
man? 



28 MOTHER MINE 



Jerry (with a gasp). Yes, ma'am. 

Miranda. When did you luive anything to eat? 

Jerry (faintly). Last night. No, I think I had a 
piece of bread this morning. 

Miranda. Mercy sakcs ! (Brings some dishes from 
cupboard and puts them on table.) Did anyone ever 
hear the Hke? (Exits right into kitchen.) 

(Jerry draivs his hand wearily across his eyes, leans 
forward on the table, and his head falls on his arms.) 

Miranda re-enters with bread, milk and cold meat, 
which she places on the table. 

Miranda (sympathetically) . There, you poor child! 
You're jest wore out. 

Jerry (sitting up). Don't talk to me like that. Be 
harsh, but for heaven's sake don't be so kind. 

Miranda. The world's been harsh enough, but we 
won't talk. You eat. 

(Jerry begins to eat. Miranda exits right and re- 
enters after a moment with a basin, towel and bandage.) 

Miranda. Let me see your ankle. 
Jerry. No, no ! I can't let you do that. Please. 
Miranda. Very well. I'll put the things in your 
room and you can do it for yourself. (Exits up stairs.) 

Jerry eats hungrily. Miranda re-enters after a 
moment. 

Miranda. You know 3^ou ain't told me your name 
yet.f^ (Sits opposite him at the table.) 

Jerry (between mouthfuls). Jerry MacConnell. 

Miranda. I am Miranda Peasley. How old are 
you? 

Jerry. Seventeen. 

Miranda (gently). Just about what I thought. 



MOTHER MINE 29 



Nothing but a boy. You ought not to be out in the 
world looking for work. You ought to be at home 
where your mother can watch you — make you drink 
milk, keep your feet dry, go to bed early, and spank you 
if you don't behave yourself. 

Jerry {smiling faintly/). I guess maybe you're right. 

Miranda. If I find you're running away from home, 
I'll have the constable ship you back in a hurry. 

Jerry. The only home I ever knew was an institu- 
tion called the St. Agnes Orphanage. 

Miranda. Orphanage? You mean you haven't any 
folks.? 

Jerry. If I have, no one knows' who they are or 
where they are. But I think I can just remember two 
loving blue eyes, and a warm cheek pressed close to 
mine. I can still taste the salt of tears (pause). That 
must have been my mother. 

Miranda (wiping her eyes). Oh, my poor boy. 

Jerry (ashamed, wiping his eyes). I guess the pain 
has made a baby of me. 

Miranda. IMen never can stand pain like women. 
Let me look at it. (Stoops to his ankle.) 

Jerry (bluffing). No, no; tlie pain is leaving. It's 
not so bad. Gee ! I wonder what it would be like to 
be your boy. 

Miranda. Suppose we try it and see. 

Jerry (astonished). Ma'am? 

Miranda. Are you sure you're going to get work 
over to Terry ville? 

Jerry. No ma'am, I was just going to find out. 
If they didn't have anything I was going on further. 

Miranda. Well, now, I got a place for 3^ou right 
liere. Suppose you try it for awhile and see how we 
get along. 



30 MOTHER MINE 



Jerry. What doing? Eating and sleeping? You 
must have a lot of help on your farm. 

Miranda. Yes, o' course. I got men to run my 
farm. But I have to hire a neighbor's boy to do all 
kinds of chores, and the men are always hiring extra 
help, and I need some one right in the house with me. 
The last of my family was married and went away to- 
night, and I got to have someone with me. 

Jerry. And you'd take me? 

Miranda. Why not? You look to me as if it'd do 
you a whole lot o' good to live on a farm awhile. 

Jerry (incredulously). But you don't know any- 
thing about me. 

Miranda (calmly). You're a motherless boy in need 
of a home and some care. I don't need to know any- 
thing more. 

Jerry. Yes, you do. I came in here to steal — 

Miranda (interrupting) . It's the first time you ever 
did a thing like that. 

Jerry (surprised). Why, how do you know? 

Miranda. You ain't got the kind o' eyes that lies 
and steals. That was the first time, and — (decidedly) 
it's going to be the last. 

Jerry (soberly). You bet it is! You're right there. 
But, Mrs. Peasley, I've run away from the city because 
I'm in trouble. The police were after me. 

Miranda (laughing) . Well, I say you need a mother 
to spank you once in awhile. 

Jerry. You don't understand, ]\Irs. Peasley. This 
is serious. 

Miranda. You mean you think it is, and you're try- 
ing to make me think so, too. It's too bad to do so 
much bad thinking. Now, suppose the police had got 
you, what would they have done with you? 

Jerry. Taken me to the juvenile court, had a trial, 



MOTHER MINE 31 



and probably sentenced me to a reformatory. I might 
have been sent on to some farm to work if anybody had 
interceded for me. Sometimes a man offers to be a 
big brother to the prisoner. 

Miranda. I want to know ! That's one o' the most 
human things I ever heard about city folks. Well now, 
Jerry, why don't you sentence yourself to this farm? 
Jerry (pleased). Some sentence, that would be. 
Miranda. It might not be as easy as you think. 
There's some things you'll have to do if you stay with 
me. 

Jerry. Well, I'll do them, no matter what. If I 
stay here, what you say goes. 

Miranda. What are you putting an "if" in for? 
Jerry. Because it isn't fair to you. If an officer 
traced me down here, they could get you in trouble for 
shielding me. 

Miranda. I want to know! Why, Jerry, I don't 
even know what you done. 

Jerry. But I'm going to tell you — right now. 
Miranda. No, no. They ain't no need. 
Jerry. You must know the truth, or I can't stay. 
You must judge me. 
Miranda. Well? 

Jerry. I was working in a newspaper office in Bos- 
ton. I had been there six months when, one day, I was 
sent to collect a bill of fifty dollars for an advertise- 
ment. I got the money and gave a receipt. When I 
got to the office I turned the money over to the cashier, 
but he denied he ever got it. I had no proof of my 
innocence. It was my word against the cashie^^s, and 
as he was a trusted employee, of course his word was 
taken. I was panic-stricken with fear — and ran away. 
That's the truth. 

Miranda. I believe you, my boy. (Rises, rcith a 



32 MOTHER MINE 



peculiar light in her eyes.^ We won't talk any more 
tonight. I want you to have some rest. Come, can 
you walk.'' 

Jerry (rises). Yes, ma'am. It isn't very bad. Do 
you really want me to stay.? 

IMiRANDA. Of course I do. You go right upstairs, 
the first door on your right. (Lights candle on mantel 
and hands it to him.) 

Jerry (limps toward the stairs, turns and looks hack 
at her). I ought to try to say something, but I can't. 
(Smiles faintly.) "There ain't no words — " 

Miranda. This is no time for talk. You bathe your 
ankle and rub some oil on it, and bandage it. Are 
you listening to what I'm saying. '^ 
Jerry. Yes, ma'am. 

Miranda (commandingly). Well, see that you do it. 
Jerry (enthusiastically). Yes, ma'am. What you 
say goes. 

Miranda. That's the way to talk. Good night, and 
God bless you, lad. 

Jerry (starts upstairs and turns). I didn't know 
there was anyone on earth like you. (Exits upstairs.) 
Miranda (stands for a moment looking after him. 
Blows out the lamp. Lights three-fourths down. Takes 
her candle, goes to the mantel and speaks to the pic- 
ture). Well, Hiram, the Lord hasn't been long answer- 
ing. I wasn't expecting a son quite so soon, or tliat 
he was coming full grown, or was going to be jes' like 
that, but — land sakes ! Folks don't always get their 
children as they picture them. They have to accept 
them the way the Lord sends them. 
Curtain. 



MOTHER MINE 

The Second Act. 



The scene is the same. It is three weeks later, in the 
forenoon. On the center table is a pan of dishes. The 
outside door is open, and remains so throughout the 
act. 

All stage lights up full. Yellow hunches shining in 
door and window in flat. 

The rise of the curtain reveals jNIiranda at the center 
table, washing dishes, and Mary drying them and put- 
ting them in the cupboard. This business continues for 
just a brief moment before the dialogue begins. 

Miranda. Land's sakes, Mary ! How fast you work. 
There ain't another girl in the village who can work 
with you. You been jest like a daughter to me these 
last three weeks. 

Mary (with a sigh). I'm glad I'm good for some- 
thing. 

Miranda. Well, what in. the name o' common sense 
do 3^ou mean by that.^^ 

Mary. Oh, Miss Miranda, I suppose I'm terrible, 
but every time Lillian comes home I just hate mj^self. 
No wonder Jack is crazy about her. 

Miranda (dismayed). Mary Tisdale! You ain't 
never in this world jealous of Lillian? 

Mary. I'm afraid I am, just a httle. Isn't it dread- 
ful? 

MmA^jy A (emphatically). I should say it was. Well, 
you got to get right over it. That's all they is to 
that. Suppose Jack should find it out. How'd you 
feel? 

33 



34 MOTHER MINE 



Mary (puzzled). Jack? (With a sudden laugh.) 
Oh, Miss Miranda — it isn't Jack ! I don't want Jack. 

Miranda. Well, I'm relieved. But what is it jou 
do want? 

Mary. I want to go away to school, too. I want 
to go to the city. Oh, I've so many ambitions. I want 
to ride on the elevated, and go to the theatre, and learn 
the newest dances, and have a silk petticoat that rustles. 

Miranda. I want to know! Anything else? 

Mary (impulsively) . Yes. Don't breathe it outside 
this room. I want a beau. 

Miranda. Well, a girl with a face like yours ought 
not to w^ant for that very long. 

Mary (ruefully). But what about a girl with a pa 
like mine? 

Miranda. He'll have to come to it after awhile. He 
can't keep you forever. And if you get the right kind 
of a beau, probably after awhile he'll take you up to 
the city and let you realize some of your ambitions. 

Mary. Yes, the right kind of a beau. 

Miranda. There's Leander Perkins thinks the sun 
most rose and set in you. 

Mary (with a shudder). Don't, please! Leander 
Perkins ! 

Miranda. He's a real good boy, Mary, if there ever 
was one. 

Mary. Good? Yes, he's good, but that's all you 
can say for him. And there isn't anything very exciting 
about a goody-goody. 

Miranda (pretending she is shocked). Well, Mary 
Tisdale, I'm beat. 

Mary. Oh, Miss Miranda, I say things to you I 
wouldn't dare to say to anyone else on earth. 

Miranda. I should hope you wouldn't. They ain't 
the kind of things you want published in the Banner. 



MOTHER MINE 35 



(With a sudden thought.) There! I got to see my 
gingerbread. (Starts for kitchen). Don't you work 
here no longer than you feel like. You've done a lot. 

Mary. I love to work here. I love your house 
(throws her arms around Miranda), and, oh, how I 
love you ! 

Miranda. Bless your heart. I hope you get the 
right kind of a beau. (Exits, right, into kitchen.) 

INIary continues working. Jerry enters, center, from 

outside. 

Jerry (calls). ]Mrs. Peasley ! (Stops abruptly and 
removes his cap.) I beg your pardon. 

Mary. Oh! (Suddenly smiling.) Good morning, 
Jerry. (Drops her dish wiper.) 

Jerry (looking his admiration). Good morning. 
(Picks up wiper and hands it to her.) 

Mary. Thank you. 

Jerry. Working awful hard? 

Mary. Not very. How do you like our village ? 

Jerry. Better every minute. 

Mary (shyly). Isn't that nice. Where is your own 
home ? 

Jerry (without thinking). Boston. (Regrets his 
reply.) 

Mary (surprised). Really.? Why, I thought Miss 
Miranda said some place not far from us. 

Jerry. Barretstown, maybe. 

Mary. Yes, that w^as it. 

Jerry. I did come from there. I used to live in 
Boston some time ago. 

Mary. Oh, wouldn't I love to see Boston I 

Jerry. Would you? 

Mary. Maybe you can tell me some of the things I 
want to know. 



36 MOTHER MINE 



Jerry. Go to it. I'll deliver the goods if I can. 

Mary. Is — is it fun to ride on the elevated .^^ 

Jerry. Fun? That doesn't express it. You ought 
to try it some morning about eight-thirty. 

Mary. Can you do the newest dances .^^ 

Jerry. Can I? Well, rather! 

Mary {eagerly). Oh, will you teach me how? 

Jerry. Will I? Oh, boy! Lead me to it. (Starts 
toward her.) First you — 

Mary {alarmed^ looking toward the door). Oh, not 
now; not now! In tlie barn sometime, when nobody 
knows. 

Jerry. Sure, if I stay here. 

Mary. I f you stay ? Aren't you going to ? I 
thought you had come to work for Miss Miranda. 

Jerry. Sure, I have. But I don't know how long 
she'll want me. (Takes the wiper from her hand.) Go 
ahead. You wash. I'll wipe. 

Mary. And — oh, tell me about the theatres ! Do 
you go very much.? 

Jerry. Every time I could get a pass. 

Mary. A pass? 

Jerry. Yes. I — I — knew a fellow that worked on a 
newspaper, and sometimes he gave me a pass that would 
take me in to the theatre without paying. See? I've 
never piled up enough jack yet to spend much on amus- 
ing myself. 

Mary (trying to understand him). I guess maybe 
I don't know what you're talking about. But — but 
when you did go to the theatre, wasn't it wonderful? 

Jerry (indifferently). Oh, I don't know. There's 
some things I like better. 

Mary. Goodness. I'd like to know what they could 
be. 



MOTHER MINE 37 



Jerry. Would you? Well, wiping these cups with 
you beats any show I've ever been to. 

Mary (doubtfully). I don't — I don't know just how 
you mean that. 

Jerry. I mean it all right, little girl. You can bet 
your last dollar on that. 

Mary (with a sigh). I don't suppose you are inter- 
ested in silk petticoats. 

Jerry (with a chuckle). Well, I haven't been yet, 
but a fellow never knows what he's coming to. 

Mary (looks a little hurt). Did I say something 
funny ? 

Jerry. Not on your life. J was laughing at my 
own thoughts. I beg your pardon, Mary — er — I 
mean — 

Mary. That's right; Mary. 

Jerry. You don't want me to call you that, do you? 
Right off the bat? 

Mary. I don't know what it is to be right off the 
bat, but why wouldn't you call me Mary? Don't you 
want me to call you Jerry? 

Jerry. Do I want to go to heaven on an ice wagon? 
You bet I want you to call me Jerry. And you bet 
your sweet life I'll be right there when you call. 

Mary (puzzled). Why, we are strangers, you know. 

Jerry. I don't know whether I do or not, but be- 
lieve me, I'm going to find out. (Telephone rings.) 
Shall I answer? 

Mary. No, I will. I don't believe people around 
here are likely to know what you're talking about. 
(Goes to phone.) Hello?. . .Yes. . .Oh, all right. 1^11 
come. (Hangs up receiver and turns to Jerry.) Will 
you please tell ]\Iiss Miranda I have gone home for a 
few minutes, but I'll come back? (Goes up center.) 

Jerry. All right. Don't forget. 



38 MOTHER MINE 



Maey (looking back from door). Forget what? 

Jerri . To come back. 

Mary (with a shy little smile). Jerry, I — I hope 
you'll slay. (Exits, center door.) 

Jerry (softly, as he looks out of the window). Gee, 
kid, I wish I could! (Begins to zvhistle as he finishes 
the dishes.) 

Miranda enters from the kitchen. 

Miranda. Well, did I ever ! You're handy as a girl. 
Where's Mary.? 

Jerry. She had to go home, but she's coming back. 
What shall I do next, mother mine.'^ 

Miranda. Set down and talk to me. I'm feelin' 
downright depressed, an' that's the truth. (Sits right 
of center table.) 

Jerry (sits in chair back of table). Why? 

Miranda. Suppose you was to be took away from 
me now. You've been here three weeks, and it seems 
you've always belonged right here. 

Jerry. So it does. And I'll tell the world, lam 
yours for life. 

Miranda. It's all very well to joke about it, but it 
ain't going to be no joke for me. What do you sup- 
pose I'm going to do without you? 

Jerry. I'm staying right here just as long as you 
say the word. 

Miranda. Yes, I realize that. But I ain't got no 
right to say the word. 

Jerry. You have a right to me just as long as you 
want me. 

Miranda (wistfully) . That would be for life, Jerry. 

Jerry (slowly). I know you don't want me on the 
farm for life, but I don't dare to hope you can mean 
that — that — you want — me? 



MOTHER MINE 39 



Miranda. That's jest what I do mean. The Lord 
sent 3^ou here jest when I was praying for a son, and 
I don't know how I'm going to let you go. I'd hke to 
keep you always for my own boy. But that can't be. 

Jerry. Why can't it, Miss Miranda? I can't believe 
my own ears when you say you want me. But if it's 
really so, you'll never get the chance to cast me off. 

Miranda. I wouldn't be selfish enough to keep you 
back here in the country. You've got to be hunting 
around for another newspaper where you can get started 
again. 

Jerry. Would you leave the country for any part 
of the year? 

MmA^BA (wonderingly) . Leave the country? Why, 
I ain't never thought of such a thing. 

Jerry. I've had a vision. I didn't dare to mention 
it, because I couldn't believe you felt the same way I 
did. I've been wondering how I was ever going to get 
along without you. 

Miranda (delighted). Have you? I want to know! 

Jerry. Of course I want to go to some city and try 
to get another job. And I just thought it would be 
the most wonderful thing in the world if you would 
come, too. 

Miranda. For the land sakes ! 

Jerry {eagerly). After I got a job, you know, we 
could live in a little apartment. You don't know, of 
course, but they have the dandiest little ones — three 
rooms and a kitchenette. Gee, wouldn't we have a love 

nest ! 

Miranda. My soul! Did I ever! Me in the city! 

Jerry. Why not? 

Miranda {getting excited). No reason. No reason 
in the world ! I could come home in the summer. {Look- 
ing around the room.) I'd take Dickie (glances toward 



40 MOTHER MINE 



the portrait), and Hiram — and my land, wouldn't it 
be a change? 

Jerry (with a shout). You've said something. It 
would be a change ! 

Miranda. You better go right off and see what you 
can get. 

Jerry (leaning' over and patting her shoulder) . Gee, 
but you're the best little sport that ever lived ! 

Miranda. Where you going? Of course you wouldn't 
dare to go to Boston? Not yet? 

Jerry (shakes his head). No. There are plenty of 
good sized cities in Massachusetts, and I could get ex- 
perience on a smaller paper until it was safe to go to 
Boston, or later to some other large city. I'm not 
sure just where I'd better start out. I can't afford to 
travel around too much. 

Miranda. Yes, you can. Yes, you can. Perhaps 
you can travel all you need to. You're my son from this 
very minute. I've known you was from the minute you 
fell in my window. 

Jerry (rises and goes to her side). You're the most 
wond&rful little woman in all the world. I wonder why 
this has happened to me. I know one thing. I don't 
deserve it. But I'm going to forget everything that 
has happened in the past, and try with all my heart to 
be worthy of you. (Suddenly takes her hand, kisses it 
and turns away.) 

Miranda (feeling for her handkerchief). Jerry — 
Jerry MacConnell — you get me all worked up! For 
the land sakes ! (Looks out the window.) Oh, Jerry, 
there's the postman, and my flag is up. I got a letter. 

(She exits, right, to kitchen. Jerry exits, center, and 
re-enters with a letter. Miranda re-enters from kitchen 
with a glass of milk and some gingerbread). 



MOTHER MINE 41 



Miranda. There. You get busy with that. 

Jerry. Oh, gee! (Sits at table and eats.) 

Miranda (absently, as she takes up the letter). 
You're altogether too thin and white. (Examines the 
letter.) Boston. Well, who's writing from Boston, I'd 
like to know.'' Boston. Now, I wonder. I can't think 
of a soul that would write from Boston. Well, I declare. 
Who do you suppose it's from.'^ 

Jerry. You can search me. 

Miranda (astonished). I can what.'' 

Jerry. That means I couldn't guess in a thousand 
years. 

Miranda. Neither could I. Well, I won't try any 
longer. I'll open it and find out. (Opens letter and 
reads.) Well, did I ever.? If this. isn't the beatenest 
thing I ever heard tell of. A man in Boston I never 
heard of wants to buy this farm. And that night you 
came one of my neighbors wanted to buy it. What do 
you think of that? 

Jerry. Don't they give a reason for wanting it? 

Miranda (looking at the letter). This man just 
says he wants a country place, and — 

J ^URY (suddenly). My God! 

Miranda (shocked). Jerry MacConnell! 

Jerry. Don't you — have you — do you — 

Miranda (sternly). Jerry MacConnell, do you know 
what you said? 

Jerry (vaguely). I — what I said? No, ma'am — 
yes, ma'am. I said, my — 

Miranda (interrupting sharply). Don't you dare 
to say it again! Ain't you ashamed of yourself? 

Jerry (coming to). I'm afraid I ain't, but I guess 
by the way you look I ought to be. I'm sorry. 

Miranda. Don't you ever let me hear you talk like 
that again! 



42 MOTHER MINE 



Jerry. I'll try not to, but I'm likely to forget. I'm 
used to saying things like that. 

Miranda. Well, you'll get un-used to it, right 
straight off. When you feel like saying anything like 
that again, you say, "Mercy sakes." Are you paying 
attention to what I'm saying? 

Jerry {trying not to laugh). You bet. When I 
feel stirred over any little thing I'm to say — "Mercy 
sakes !" 

Miranda {wai'ningly) . See that you remember. 

Jerry. Remember.? I couldn't forget that in a 
lifetime. 

Miranda. Now, what did you get excited about? 

Jerry. I just happened to think of something I 
heard. This is Tapley Village. 

Miranda. Of course it is. 

Jerry {seriously)^ Mother mine, don't answer that 
letter now. Wait. Don't sell your farm until — 

Miranda {interrupting impatiently) . Until nothing. 
I ain't no idea of selling it — {thoughtfully) unless — - 

Jerry. If you only knew what this little home looks 
like to me. Gee ; it's as near heaven, and you're as near 
an angel, as I ever w^ant to get. 

Miranda. Now, ain't it terrible for a boy to be able 
to say a thing like that. Well, we'll see. You're going 
to stay right here for the present. 

Lillian enters, .center. Jerry rises quickly. 

Lillian. Good morning. Miss Miranda. {Sees 
Jerry.) Oh, I thought you were — {hesitates.) 

Miranda. Come right in, dear. You know Jerry 
MacConnell that's working for me. (Jerry hows and 
Lillian nods.) Jerry, I wish you'd go to the store 
next. There's a basket and a list on the kitchen table. 

Jerry. Yes, ma'am. {Starts for the kitchen.) 



MOTHER MINE 43 



Miranda. And you tell Joe Payson I'm getting tired 
of waiting for that chicken wire he ordered for me. 
(Jerry exits, light.) 

Lillian. I've heard a lot about Jerry, your new 
helper. Lettie told me you treat him like a son. 

Miranda. I'll bet she did. (Laughing.) 

Lillian. She's hurrying to beat the band to get her 
work done and her clothes changed so she can get over 
here. She's still full of curiosity. 

Miranda (disgusted). Now ain't that sense? What's 
she care about that boy.? 

Lillian. Where did he come from, Miss Miranda? 

Miranda. Barretstown. 

Lillian. Don't you beheve it. 

Miranda (sharply). What do you mean? 

Lillian. He hasn't the kind of manners that go with 
Barretstown. 

Miranda. What do you know about his manners? 

Lillian. The way he acted when I came in. He 
might not have moved if he'd had time to think, but he 
instinctively got to his feet. And bowed hke — well, not 
like Barretstown. Oh, I've had my eye on him for the 
last three weeks. 

Miranda (sniffing). You're terrible observing, I 
must say. 

Lillian. How did he happen to come to you? 

Miranda (impatiently). Now see here, Lillian. 
Don't be silly about that poor boy. He just happened 
to do them things. For goodness sakes don't stir up 
any foolishness in the village about my boy. 

Lillian (surprised). Why, I don't intend to. * But 
as Jack would say, I don't want to see anyone put any- 
thing over on you. 



44 MOTHER MINE 



Miranda. Land sakes! I guess I'm about old 
enough to look out for myself. 

Lillian (taking an envelope from her pocket). I'll 
leave this — 

Miranda (quickly). Don't leave anything. (^Glances 

towards the window.) Here's your father coming in. 

(Lillian hastily puts the envelope hack in her pocket. 

Miranda goes to the door and opens it.) Good morn- 

mff, deacon, ^^r ^ j. 

° Whitcomb enters, center. 

Whitcomb (coming in). Good morning, Mirandy. 
(Removes his hat.) 

Lillian. Are you ready so soon.^^ 

Whitcomb. Yes. The parson wasn't home. 

Lillian. Father and I are going to town, Miss 
Miranda. Can we do anything for you? 

Miranda. I. don't think so. I had so much finery 
for the wedding I sha'n't need anything for a spell. 
But, deacon, I'd like to ask a little advice. 

Whitcomb. Certain, Mirandy; certain. 

Miranda (hands him the letter). Read this. 

Whitcomb (reads the letter). Who is this man.'' 

Miranda. I ain't the least idea. 

Whitcomb. Stranger to you, and wants to buy your 
farm? How'd he hear about it? He offers a big price. 

Miranda. He does. The land only knows how he 
heard. And there's something else. Now promise you 
won't get violent. 

Whitcomb. Violent? Who? Me? Why should I? 

Miranda. Joe Payson was here before, and he wants 
to buy the farm. 

Whitcomb (at the top of his voice). Joe Payson? 

Miranda. Now, deacon. 

Lillian. Father. 

(These two lines are spoken together.) 



MOTHER MINE 45 



Whitcomb (calming down a little). Mirandy, you 
can rest sure there's a nigger in the woodpile. You 
can't trust a Payson, even as far as you can see them 
going. 

(Lillian turns away, walks to the window and stands 
looking out.) 

Miranda. Well, I don't think that, deacon. They're 
good neighbors, and Joe has always used me well. I 
ain't aiming to stir up any trouble. But this looks 
queer. 

Whitcomb. You let me keep this letter, Mirandy. 
I'll take it to town and get my lawyer to send up to 
Boston and find out who this is. 

Miranda. Can you do it quietly, deacon.? 

Whitcomb. Yes. We won't say nothing until we 
find out what's up. {To Lillian.) You see what 
underhand messes the Paysons mix into. 

Miranda. Now, deacon, you don't know nothing 
about this yet. 

Whitcomb {curtly). Know as well as I want to. 
Can't tell me. 

Miranda. You won't tell anybody.? 

Whitcomb. No. You can trust me, Mirandy. All 
ready, Lilhan.? {Exits, center.) 

Miranda {puts her arm around Lillian). Good- 
bye, dearie. 

Lillian {gratefully). Good-bye, Miss Miranda. 
{Exits, center, after her father.) 

Miranda goes to the table. After a slight pause 
Jerry enters, center. 

Jerry {as he enters). Mrs. Peasley. 
Miranda {turning with a start). Land sakes, how 
you startled me! What's the matter.? 



46 MOTHER MINE 

Jerry {quietly). There's an officer in the village. 
He's after me. He all but saw me in the store. I 
started to go in the side door just as he came in the 
front. I listened for a minute and then I sneaked back 
of the store and came across lots. 

Miranda {hopefully). Maybe he'll go right along. 
What's he in ? An auto .? 

Jerry. Yes, ma'am, and he'll be up here mighty 
quick. He stopped for some crackers and milk or he 
would have beaten me to it. My ankle won't let me 
travel at my usual clip. 

Miranda. What makes you think he'll be up here? 

Jerry. The storekeeper told him about you having 
a new boy working for you and no one knew where he 
came from. 

Miranda {disgusted). Now wouldn't that make a 
cat sick! It's a pity people can't mind their own 
business. 

Jerry. I suppose I might as well let him take me. 

Miranda {sharply). Well, I suppose you hadn't. 
You've spent the most of your life in one institution. 
It ain't going to do you no good to spend some more 
of it in a different kind. 

Jerry {wonder'ingly). Gee, how you understand! 
That's just why I worked so hard to get away. 

Miranda. Well, I've beat the law this time. You're 
my prisoner and you do just what I say. You go in 
there. {Points left.) Open the door at the left and 
go upstairs. There's an unfinished room right up there. 
{Points up over the mantel.) You go in and stay till 
I call you. {Auto horn is heard.) 

Jerry. Here he comes. 

Miranda. Hurry up ! And for goodness sake, don't 
move around up there. (Jerry exits, left. Miranda 
grabs the dish wiper and a cup. Lewis knocks at the 



MOTHER MINE 47 



center door. Miranda goes to the door with cup and 
wiper in her hands.) 

Lewis enters, center, 

Lewis. Good morning. 

Miranda. Good morning. Won't you come m? 

Lewis {stepping in, glances sharply about). Thanks. 
My name is Lewis. I've come from Boston. 

Miranda. I want to know. Won't you sit down.^ 

Lewis. Well, I don't know. I'm in somewhat of a 
hun-y. 

Miranda. I hope you haven't come about the farm, 
because I haven't no idea of selling, and — 

Lewis {breaking in). I'm chasing up a youngster 
that got into trouble, and I heard you have a boy 
working for you who is a. stranger in the village. 

Miranda. Yes, I have. 

Lewis. Where did he come from.? 

Miranda. Why, he said Barretstown. 

Lewis. And when did you hire him.? 

Miranda. Three weeks ago. 

Lewis. Aha ! I bet we've caught our bird. 

Miranda {pretends to he alarmed). Mercy sakes! 
You don't mean to say I've taken in a boy who has done 
something.? 

Lewis {interrupting) . Don't be frightened, madam. 
I'll soon take him off your hands if he proves to be 
the one I want. 

Miranda. I should hope so. Land ! I'd have a con- 
niption to have anyone like that around. 

Lewis. Let me have a look at him and we'll soon 
know. Where is he? 

Miranda. Why, I've sent him on an errand. Now 
ain't that too bad. 

Lewis. Well, I can wait awliile, I suppose. 



48 MOTHER MINE 



Miranda. Yes, do. Let me show you the album. 
(Gets the family album and opens it for Lewis.) That 
was my husband the spring I first met him. My land, 
I'll never forget that day. That is when we were mar- 
ried. I wish you could have seen my dress. It was 
blue — 

Lewis {making a desperate effort to escape). Par- 
don me, madam. I just happened to think I'm wasting 
time, and I ean't afford to do that. Which way did 
the boy go.^^ 

Miranda. Well, now, I can't tell you that. I sent 
him on two errands. One down that way and one up 
that way. {Points left and right.) 

Lewis. How long will he be.^^ 

Miranda. Well, now,- that depends. He might be 
an hour or so, and then he mightn't. Of course, he's 
kind of slow. 

Lewis. Slow ^ 

Miranda. Yes, being lame. 

Lewis. Lame? The boy I want isn't lame. He's 
like a flash of lightning. What's he call himself? 

Miranda. Jerry — er — Jerry — 

Lewis. Huckins ? 

Miranda. No, that weren't it. Mac something. 
MacConnell. That's it. 

Lewis. Well, of course you can't tell by the name. 
He wouldn't give the right one, and then there are 
plenty of Jerries in the world. What's he look like? 
Not very tall — slight — black hair? 

Miranda. Yes. He's kinda short and slight, but this 
Jerry of mine has got the reddest head you ever looked 
at. 

Lewis. That settles it. I'll go right along. No 
need of wasting time. Thank you very much, madam ; 
sorry to have troubled you. 



MOTHER MINE 49 



Miranda. No trouble. I wish you could have 
stayed a spell. I'd like to have shown you the rest o' 
them pictures. There's one of Hiram in his G. A. R. 
uniform, and — 

Lewis {hastily). Some other time I might be pass- 
ing this way. By the way, madam, you live right here 
on the main road; you might see our Jerry yet. He's 
down this way somewheres. If you do, will you please 
notify Mr. Crockett? {Hands her a card.) 

Miranda {reading card). Mr. Crockett. Boston 
Daily World. 

Lewis. Crockett is the City Editor, and he's moving 
heaven and earth to find Jerry Huckins. It really is 
vitally important that he should be found. 

Miranda. All right. If I see anyone I think ought 
to be took up, I'll — tell the world. 

Lewis {laughs). That's the idea. Thank you. Good 
day. {ExitSy center.) 

Miranda {from door). Good-bye! I'm real pleased 
to have seen you. {Pause. She goes to rcindoza. Auto 
horn is heard.) 

Jack steps in center. 

Jack. Miss Miranda. {He turns and looks cau- 
tiously. ) 

Miranda. Why, Jerry — how — 

Jack {turning, surprised). Jerry .^^ 

Miranda. Jack Payson. Is it you.? Back of you 
looks for all the world like Jerry, red cap and all. 

Jack. Where's Jerry? 

Miranda. He's gone on an errand. 

Jack. I thought he had come back. 

Miranda {puzzled). You thought — {Stops ab- 
ruptly; speaks sharply.) Why should you think any- 
thing about him, anj^way? 



50 MOTHER MINE 



Jack {hastily). No reason at all. I wasn't think- 
ing about what I was saying. Has Lillian been here.^^ 

Miranda. Yes, but her father came in and she didn't 
have no chance to leave anything even if she'd written 
it. And I don't know whether she had or not. 

Jack. Then I'll have to come back later. Here's 
what I've written. (Puts envelope on table.) 

Miranda. You going right home.^ 

Jack. Yes. 

Miranda. I got a recipe for putting up rhubarb 
that 3'our mother wants. You wait a minute. I'll 
get it. 

Jack. All right. 

(Miranda exits, right.) 
Jack {walks over to canary). Hello, Dickie 1 
Lillian enters, center. 

Lillian. Jack! You- here.? And how you look! 

Jack. Yes, some picture. This is father's idea of 
what goes well with my style and complexion. Honest 
to goodness, Lillian, he's given me enough work to last 
into the winter. 

Lillian. He doesn't intend you shall have many idle 
moments. 

Jack. You've said something. Say — I did it. 

Lillian. No ! Got your liberty bonds out of the 
safe ? 

Jack. Yep. Had the slickest chance. Climbed in 
the back window of the store and out again, just as 
easy. There's only one thing that's bothering me. Miss 
Miranda's new helper, Jerry. 

Lillian. Why.? 

Jack. He was outside the store, and he saw me. 

Lillian. Oh, Jack! 



MOTHER MINE 51 



Jack. He's a good-natured looking cliap. I came 
over here to tip him ofF, but lie isn't here. 

Jerry appears in left door. 

Jerry {quietly). Yes, I am. 

Jack {crosses to him qiiicUij). Saj, Jerry, you saw 
me come out of dad's store window. I was helping 
myself to something that belonged to me. There may 
be a row about it soon. If there is, please keep quiet 
about it, see? Lilhan and I are going to get married, 
and we don't want anything to queer it. Our fathers 
object, you know. Please stand by me, old chap. You 
may be in love yourself some day. 

Jerry. Sure thing. {Smiles.) I won't tell. 

Lillian {earnestly). Can we depend upon you? 

Jerry. You bet you can. 

Lillian. You promise? {Holds out her hand.) 

Jerry ( taking her hand) . Sure. 

Lillian. Thank you, awfully. We'll do the same 
for you some day. {Laughs.) 

Jerry {going left). You can depend on me, all 
right. {Exits, left.) 

Lillian. Oh, Jack — if he should tell anyone ! 

Jack. He won't, I'm sure. And if he did — well, I 
could fight it out. But you, dear — {Goes to her and 
puts his arms around her.) 

Miranda enters, right. Lillian and Jack separate. 

Miranda {displeased) . Now, see here. It was un- 
derstood that you two wasn't to come at the same time. 

Lillian. Well, we haven't. 

Jack. We aren't — 

Lillian. This is an accident. 

Miranda {to Lillian). I thought you had gone to 
town with vour father. 



52 MOTHER MINE 



Lillian. Not yet. Father got detained. {Takes 
envelope from the table.) Jack, is this what you wrote? 

Jack. Yes ; give me yours. 

Lillian {hands it to him and goes to ^Iiranda). 
Please don't be cross. That's a dear! {Runs out, cen- 
ter and left.) 

Miranda {hands Jack a slip of paper). Now you 
take this, and travel the opposite direction. 

Jack {laughs). Yes'm. {Exits, center and right.) 

Miranda {looks out window, out door, then steps to 
fireplace, looks up and speaks cautiously). Jerry! 
Come down ! 

After a slight pause, Jerry enters left. 

Miranda. Did you hear? 

Jerry. Every word that's been spoken since I went 
up tliere. Little mother, you're a wonder! 

Miranda. It was real kinda liard to tell the truth 
all the time, but I managed. Thank the Lord you had 
on tliat red cap. I guess that's all that saved us. They 
seem pretty anxious to get you. 

Jerry. I'll give myself up if you say the word. 

Miranda. No, no ; I couldn't bear that, Jerry. 

Jerry. Yes, little mother. 

Miranda. Did you like to work for a newspaper? 

Jerry {emphatically). Yes, ma'am; you bet I did. 

Miranda. I guess that accounts. 

Jerry. Accounts? 

IMiRANDA. For some of the things you say, and your 
manners. 

Jerry. IManners? I guess my manners aren't any- 
thing to brag about. There's a few things I've had to 
learn or Crockett would have knocked my liead off. But 
taken in all it's a rough life. I was selling papers at 
eight, and I've worked in or around the office ever since. 



MOTHER MINE 53 



Gee, I love it. I liad just got my first real chance. And 
how I wanted to make good! 

Miranda (cheerfully/). Well, there's other newspa- 
pers in the world besides The World. 

Jerry. You bet. 

Miranda. You'll have to keep quiet until this trou- 
ble blows over and they forget about you. 

Jerry. And while I'm keeping quiet, what you say 
goes. 

Miranda. Well, I say first of all that you're going 
to get some health and some joy out of Hfe. It ain't 
natural for a boy to be so serious. You weren't, when 
you first came. 

Jerry. That was a big bluff. Take it from me, I 
never felt more serious in my life. I don't think I'm 
naturally serious. I don't think any fellow is. I seem 
to have had a lot of things to kind of sober me off. 

Miranda. I guess likely you have. 

Lettie enters, center. 

Lettie. Good morning, Mirandy. 

Miranda. Oh, is it you, Lettie.^ 

Lettie (looking at Jerry) . How's your new helper ? 

Jerry (making Lettie an elaborate bow). I'm in 
the best of health, Miss Holbrook. 

Lettie. Well, did I ever? Why won't you never 
tell us how you found him, Mirandy.? 

Miranda (trying not to laugh). Find him.'* Do 
you think I went hunting for a chore boy? He came. 

Lettie. From where.'' 

Miranda. Barretstown. I've told you all about it 
before. 

Lettie. Do tell. (To Jerry.) My cousin's brother- 
in-law^'s sister-in-law, Sarah Mitchell, lives over there. 
Do yo,u know her? 



54 MOTHER MINE 



Jerry. No, ma'am. 

Lettie. Funny if you lived right in the town and 
didn't know her. 

Jerry. I didn't live there very long. 

Lettie. Oh, you didn't ? Well, I don't think much 
o' folks that gallavant from one town to another. 

Jerry (who is anxious to get back at Lettie). Well, 
don't you know — 

Miranda (warningly) . Jerry. (To Lettie.) He 
ain't going to work for you, Lettie. I'm the one that's 
taking a chance. 

Lettie. I'll say "chance." 

Lillian and Mary enter hurriedly , center. 

Lillian (breathlessly). Oh, Miss Miranda! It's 
too bad. I'm so sorry. 

Miranda. What is.? What's the matter? 

Mary (looking out of the window). It's too late. 
Here they are. 

Lillian. We were going to warn Jerry. 

Miranda. Warn Jerry .f^ 

Lettie (very much excited). What is it.f^ Tell me 
quick ! 

Joe Payson enters, center, followed by Jack. 

Joe (looks at Jerry). That's your chore boy. 

Miranda. Good Lord, yes. Is the whole village 
coming to look at him.? A body'd think I had a monkey 
in a cage. 

Joe. Was there a Boston officer up here? 

Miranda (calmly). There was. 

Lettie (eagerly). What? An officer? From Bos- 
ton? And I never see him? 

Joe. Did the officer see liim? (Looks toward Jerry.) 

Miranda. No ; he didn't have to. He didn't answer 



MOTHER MINE 55 



the description. I ain't harboring any criminals under 
my roof, Joe. 

Joe. I hope you ain't, Mirandy. But you can't al- 
ways tell. 

Lettie {emphatically). I guess you can't. 

Miranda {quietly). What was it you wanted, Joe.? 

Joe {curtly). I wanted to find out if the officer got 
him. There's been some money stolen from my safe in 
the store. 

Miranda. Well.? 

Lettie. There has.? For the land 

Joe {interrupting) . He is the only stranger in town, 
and if he's the one the officer wants, why it looks kind 
of suspicious. Don't you think so yourself, Mirandy? 

Miranda. I suppose you're right, Joe. {Turns to- 
ward Jerry.) Have you been in this man's store to- 
day, Jerry.? 

Jerry {promptly). No, ma'am. You know I 

Whitcomb enters^ center. 

Miranda. Why, deacon. 

{Everyone shows surprise. Joe glares at Whitcomb. 
Jack stands where he is unseen hy Whitcomb through- 
out this scene.) 

Whitcomb {ignoring everyone hut Miranda and 
Jerry). This is your chore boy, isn't it? 

Miranda {exasperated). Yes, it is. And it's going 
to cost you ten cents to look at him. If I've got a side 
show, I'm going to make something on it. 

Lettie. Mirandy Peasley, be you crazy? 

Joe. I think I'll be going, Mirandy. 

Whitcomb {sternly). Wait a minute, Joe Payson. 
You got here first. I got something to say, and then 
I'll be the one to go. I heard you lost some money. I 



56 MOTHER MINE 



always intend to do my duty to everyone, no matter 
whether they are friend or foe. I saw that boy {in- 
dicating Jerry) chmbing out of the back window of 
your store, not half an hour ago. 

(Jerry glances quicldy at Jack, who motions to him 
to remain silent.) 

(The others exclaim in surprise, ^'Whatf' ''You 
dicir' ''Well, I never r etc.) 

Lettie. There! (To Jerry.) Now what have you 
got to say to that.^ 

Jerry (giving Mirand/ one glance). Mercy sakes! 

(Miranda smiles. The others all look at Jerry in 
astonishment.) 

Lettie. Well, did I ever.? Why, the boy is a sim- 
pleton ! 

Joe (somewhat staggered by it all). That's darned 
square of you, deacon — 

Whitcomb (shortly). We won't discuss that. Come, 
Lillian. (Exits, center. Lileian follows him out the 
door.) 

Joe (to Jerry). Are you willing to be searched.'^ 

Jerry. Yes, sir. 

Joe. Ain't got it with you, then.^^ 

Miranda (zvarningly) . You can't prove that he 
ever had it with him. 

Joe. He lied about being in the store. Now maybe 
he can give a reason for being in there — or a reason 
for climbing out the window. (To Jerry.) You want 
to do any talking. ^^ 

Jerry. No, sir, I haven't anything to say. 

Lettie (acidly). I guess you haven't. 

Miranda (to Joe). You want to have him arrested 
on suspicion.'^ 



MOTHER MINE 57 



Joe. I'm going to find out who's got my money, and 
I want to know he's where we can get our hands on 
him if he's guilty. 

Miranda (firmly). I'll answer for it that he'll be 
right here any time you want him. 

Lettie. As if you could! If he took a notion to run 
away — 

Miranda (ignoring Lettie). You want to trust me 
with him, Joe.'' 

Joe (grandiloquently). I'd trust you with anyone 
or anything, and I hope we find he didn't have anj^thing 
to do with it. (To Jerry.) See to it, young man, 
that you stand by a woman that's willing to stand by 
you. 

Jerry. You needn't worry, sir. I'll be right here 
if you want me. 

Lettie (breaking in). 1 don't like his looks! 

Joe (to Jerry). It would have been better if you 
hadn't lied about being in the store. Come on. Jack. 
(Going to outside door.) Good-bye, Mirandy. 

INIiRANDA. Good-bye, Joe. 

(Joe and Jack exeunt, center. Mary hesitates for a 
moment, then follows them out.) 

Lettie (to Jerry), Well, a nice mess you're making 
of things after Mirandy has — 

Miranda (gently). Lettie, I made some gingerbread 
by your recipe and it didn't come out right. I wish 
you'd come and look at it. (Takes Lettie by the hand, 
leads her to door, right, and gets her into the kitchen. 
Miranda turns back and whispers :) I want to see you 
as soon as I can get rid of her. 

Jerry. Yes, ma'am. 

(Miranda exits into kitchen, right. Jerry looks 
after her and draws a long breath). 



58 MOTHER MINE 

Jack enters hastily, center. 

Jack. I just sneaked back for a second. Say, but 
you're all wool and a yard wide. {Admiringly) . 

Jerry. Of course you realize how I look in the eyes 
of your father and all the neighbors — ^to say nothing 
of Mrs. Peasley. 

Jack. Yes, I do. And I can't thank you enough 
for keeping still. Of course I'll clear you later. But 
I can't speak now unless I absolutely have to. They 
haven't any proof against you. 

Jerry. No; but can you beat the circumstantial 
evidence.'' 

Jack. Being a stranger in the village, you ought 
not to mind so much what people think, for a while. 

Jerry. No, of course it doesn't matter about me. 
But how about Mrs. Peasley.'^ I didn't think it was 
so serious. She's been mighty good to me, and I 
wouldn't hurt her for all the money on earth. But I've 
promised, and I'll keep my promise — as long as I can. 

Jack. Cheer up, kid. I'll call Sherlock Holmes if 
they get you in dutch. And I solemnly swear to tell the 
whole story later. 

Jerry. All right. Don't forget. 

Jack. So long. {Exits center and hack left. Jerry 
walks to the window and stands looking out.) 

Mary tiptoes in center door from hack right. 

Mary (softly). Jerry. 

Jerry (turning quickly). Mary. 

Mary. I know. 

Jerry. Know what.'' 

Mary. It wasn't you. It was Jack. 

Jerry. Gee whiz! How'd you find out.? 

Mary (smiling). I didn't find out. I guessed. 



MOTHER MINE 59 



Jerry (tricked). Well, can you beat that? How 
did you ever guess? 

Mary {seriously). I don't know. Sometimes it's 
easy. Sometimes something in here (puts her hand 
over her heart) tells you a thing is or is not so. I think 
it's when it concerns some one you like. And Jerry, I 
like you. (Runs out center, and back right.) 

Jerry (beside himself). Oh, gee! Can you beat 
that! Was a fellow ever in such luck! (Dances 
around.) 

Miranda enters from the right and regards him in 
astonishment. 

Miranda. So that's the way you feel? I can tell 
you, I don't. 

Jerry. What's going to happen? (With a chuckle.) 
Is this where I get spanked? 

Miranda. I told you there's some things you'd 
have to do, and one of them is to tell me the truth. 
Why did 3^ou say you didn't go in the store? 

Jerry (growing serious). Because that's the truth. 

Miranda. Your word against Deacon Whitcomb's. 
And I've known the deacon since I was four years old. 
Of course, I understand your climbing out the window 
to escape the constable, but you told me you weren't 
in the store. 

Jerry. I know it looks fierce. I'm terrible sorry. 
You — you don't think I took that money, do you? 

Miranda (distressed). I don't know^ what to think. 
I'm all stirred up. 

Jerry. What a darned pity I came. I've just 
stirred up the whole village and messed things up for 
you. 

Miranda. I don't mind that. But I'm so terribly 
disappointed in you. 



60 MOTHER MINE 



Jerry (drawing a long breath). Gee! It hurts to 
have you say that. 

Miranda. Well, it's true. I'm disappointed enough 
to cry. 

Jerry (taking a step toward her). Please, Mrs. 
Peasley! If you cry — 

Miranda (stifling a sob). I ain't a-going to. I ain't 
the crying kind. (Changes to matter-of-fact tone.) 
You march yourself out and get to work. And for 
the land sakes tell Bill Mason to give you enough to 
do to keep you out of mischief. 

Jerry. Yes, ma'am. (Starts to exit right y with 
head drooping.) 

Miranda (suddenly). Jerry! Come back here. 
(He turns back. She goes to him.) You poor young 
one! (Very close to tears.) It's a shame. I don't be- 
lieve you ever took the money. I don't believe you were 
in the store at all. The deacon thinks so — but he's 
mistaken ! 

Jerry (joyously). I've got to do this. I can't helj) 
it. (Gathers her into his arms and holds her tight.) 
You're the dearest thing, my little mother. (Kisses 
her cheek, then hurries out right.) 

Miranda (feels for her handkerchief and goes to pic- 
ture). Land sakes, Hiram, did anyone ever see the 
like? I'm all worked up over that boy that ain't no 
relation and I've only known three weeks. I reckon, 
Hiram, I'm just a natural-born idiot. 

Joe quickly enters center, from back left. 

Joe. Where's that boy? 

Miranda (surprised at his manner). Joe! 

Joe. I wanted to save your feelin's before the folks 
awhile ago, and this matter can be kept between our- 
selves. (Looks at her.) You think a heap of that boy. 



MOTHER MINE 61 



Miranda {fearfully, comes center to meet Joe). Yes, 
I 'low I do, Joe. 

Joe. Well, he's young, and with your influence he 
may turn out all right. But he's a thief. The deacon 
saw him. 

Miranda {with spirit). I don't believe it, Joe Pay- 
son. Deacon or no deacon, that boy never done no 
wrong. 

Joe. Well, I ain't goin' to beat about the bush. 
Miranda, I want this farm. 

Jerry enters center from hack right. He stands in the 
doorway quietly listening. 

Miranda. Joe Payson, why are you so sot on having 
this farm.? 

Joe {evasively). That don't make no difference. 
This Boston party is outbidding me. I can't meet his 
price. But I want the farm for reasons I ain't a-goin' 
to tell the whole village. 

Miranda {softly). Joe, I never thought in all my 
born days that I'd sell this farm. Why, Hiram and I 
spent our honeymoon here. It was here we passed our 
happiest days together. My girls was all married from 
here. But if I do sell, I feel I must let it go to the 
highest bidder. Somethin' has come up, or I wouldn't 
sell to no one. But I want the money, Joe. 

Joe {without pity). Well, I ain't got it. But I'll 
make a bargain with 3^ou. You sell me the farm at my 
figure and I'll drop the case against the boy. 

Miranda {indignantly) . Joe Payson, do you mean — 

Joe {snappily). Yes, I do. If you don't sell me the 
farm, the boy goes to prison. He stole one hundred 
dollars out of my safe, and he'll have to serve time — 
unless you sell me the farm. 

Miranda {astonished). Joe! Joe Payson! 



62 MOTHER MINE 

Joe. Hurry up. Decide, before I ring for the con- 
stable. (Makes a bluff at starting for telephone.) 

Miranda. You'll have to prove he done it, Joe, and 
you can't. He is innocent. 

Joe. Ain't the deacon's word enough.^ He saw him 
come out of the window. And ain't the boy wanted in 
Boston.^ There's not a chance for him. (Persuasively.) 
Come now, Miranda; I have the papers here, and a 
check. (Takes out fountain pen and paper.) Sign 
here and be done with it. (Crosses to table.) 

Miranda (in a daze, takes pen and crosses to table). 
I 'low I'm beat, Joe. You can have the farm. (Starts 
to sign.) 

Jerry (comes quietly back of table and puts his hand 
over the paper). No, he can't. 

Miranda. Jerry ! 

Jerry (takes pen out of her hand and speaks 
quietly). Here's your pen and paper, Mr. Payson. 
(Gives Joe papers and says quickly). Now you beat it 
out of here, and make it snappy ! 

Joe (takes paper and pen and backs away left, half 
awed). What do you mean.? 

Jerry. I mean that IVIrs. Peasley isn't going to sell 
her farm until she gets good and ready. And when 
she does, she's going to get what it's worth. 

Joe (recovering). How dare you talk to me, you 
thief! Do you know I can send you to jail? 

Jerry. Maybe you can, Mr. Payson. But I'll go 
to jail before I'll see the best friend I have in the world 
cheated by you. 

Joe (angrily). "Cheated!" 

Jerry (with rising voice). Yes, cheated! (Takes 
one step toward Joe.) Why are you so anxious to buy 
this farm? (Takes another step) Why has a man in 
Boston tripled your offer for it? (Comes center.) I'll 



MOTHER MINE 63 



tell you why; because there's to be a Central Railroad 
run through this property. 

Joe (quickly). How do you know that? 

Jerry. I heard about it while I was working in the 
World office in Boston. Deny it if you can ! 

Joe {ugly). I ain't goin' to deny it. But you'll 
serve time for this. 

Jerry. Maybe I will, Mr. Payson. But be sure 
you're not playing with a boomerang. 

Joe (uncomfortably) . What do you mean by that.^ 

Jerry. Never mind. 

Joe. So you worked for The World newspaper in 
Boston, eh? You admit it. (Shaking his finger at 
Jerry.) Well, I'll have you arrested, and then I'll 
wire to The World in Boston £hat I've got their man. 

Miranda (trembling) . Joe Payson — you leave my 
house. And don't you never set foot in it again ! 

Joe (going up center). I'm going. But I'm comirtg 
back — (turns and points) for him. (Exits center and 
hack left.) 

Miranda (turns, watches Joe go, looks at Jerry, 
shakes her head sadly). Jerry! 

Jerry (puts his arms around her tenderly). Mother 
mine. 

Miranda (embracing him). My boy! But don't be 
afeered. (Wipes her eyes and smiles.) The Lord sent 
you to me, and the Lord will take care of you. 
Curtain. 



MOTHER MINE 

The Third Act 
The scene is the same. It is two days later than the 
Second Act. The time is early evening. The outside 
door is closed. The dining table is partially laid for 
supper, including a pie, with places for two. A piece 
of unfinished knitting is on the side stand near the fire- 
place. An opened letter is on the mantel. The lamp, 
unlighted, is on the dining table. The candles on the 
mantel are burning. A fire is glowing in the fireplace. 

Stage lights up three-quarters at rise. Blue bunches 
back of window and center door. 

The rise of the curt'ain reveals Miranda setting the 
table for supper. She goes into the kitchen. There is 
a knock on the outside door, and it is repeated. 

Whitcomb (off stage, outside center door). Mirandy. 

Miranda enters from right, with dishes, in time to 
hear him call. 

Miranda (calls). Come in. 

Whitcomb opens the center door, enters and closes the 

door. 

Whitcomb. Good evening, Mirandy. 

Miranda (putting the dishes on the table). Oh, it's 
you, deacon. I thought I heard someone knock. Sit 
right down. 

Whitcomb. No, I just stopped for a minute. I'm 
late now. You're kind of late with your supper, too. 
(Glances at table.) 

Miranda. Yes, Jerry went down to the city today, 
and he ain't come home yet. 

64 



MOTHER MINE 65 



Whitcomb. Ain't it kind o' risky, goin' his bond? 
Do you think he'll come back from the city? Suppose 
he should run away, you'd have to pay that bond. Five 
hundred dollars is a lot for you to lose, Mirandy. 

Miranda (smiles). I ain't a-going to lose it, deacon. 

Whitcomb. You 'low he'll come back? 

Miranda. Of course he'll come back. 

Whitcomb. You got wonderful faith in that boy, 
Mirandy. 

Miranda. Yes, I guess I see him with the eyes of the 
heart, deacon. 

Whitcomb. His trial comes off in two weeks, don't it? 

Miranda. Yes. 

Whitcomb. Well, I'm real sorry I had to be the one 
to accuse him, Mirandy. For your sake, I hope he'll 
get off. Perhaps he'll mend his ways with your help. 
I guess the poor lad has had a pretty rough life, with 
no one to encourage him to do right. 

Miranda. Yes, he has, deacon. But I've got faith in 
him, and no one can make me believe he deliberately done 
wrong. You was mistaken, deacon. 

Whitcomb. No, no, Mirandy. I see him come out 
of the window. 

Miranda. I suppose the whole village is gossiping 
because I went his bond. They all believe him guilty. 
But they don't dare say it to me. 

Whitcomb. Any mail lately? 

Miranda (takes letter from mantel). This after- 
noon. (Hands it to him.) Just see the offer he's made ; 
and this time he's coming. What do you think of that ? 

Whitcomb (takes letter from envelope, glances at it 
and shakes his head). Must be some tinith about the 
railroad. But anyway, I'm glad you're going to have 
a look at him. We'll have my lawyer out here when he 
comes. 



66 MOTHER MINE 



Miranda. All these letters are from Boston. It's 
queer we can't find out nothing about him. 

Whitcomb. I've been thinking probably he ain't 
using his right name. {Replaces letter on mantel.) 

Miranda {sits hy dining table and looks up at him). 
That makes it look all the worse. My land, deacon, I'm 
almost tempted to sell. I'll never get such a chance 
again. It seems like flying in the face of providence not 
to accept such an offer. 

Whitcomb (stands with his back to fireplace, his 
hands behind him). We musn't be hasty. I thought 
you wanted to keep the old place. 

Miranda. Well, I would like to ; but such an offer. 
I could buy another place and have a small fortune left. 

Whitcomb. Yes, that's right. But we'll be cau- 
tious. The railroad Avill give more. 

IMiRANDA. Sometimes I wish I had a little more'n I 
got. 

Whitcomb. Spend too much on the girls .^^ 

Miranda. No ; no indeed. Only I wish I had a little 
more to spend on someone else. 

Whitcomb. I should think it'd be a pretty good 
idea for you to have a little more to spend on Miranda 
Peasley. 

Miranda. Land sakcs, I got enough to spend on 
myself. I'd never sell if I was the only one to think 
about. 

Whitcomb. Well, I don't see who else there is now, 
Mi randy. 

Miranda (smiling). No, I don't suppose you do see. 

Whitcomb. Anyway, you won't do anything rash 
now you've waited all this time. 

Miranda. No, I won't. I promise you. And dea- 
con, I'll never forget how kind you've been, helping me 
about this thiner. 



MOTHER MINE 67 



Whitcomb (going up center). I don't see that I've 
done much. We're just as much in the dark as we were 
when we started. But I hope we'll see some light before 
we get through. (Exit center.) 

Miranda (goes to door). Good night, deacon. 
(Takes some knitting from the side table. Sits down 
in arm chair before fireplace. There is a slight pause.) 

Jerry enters center, opening the door and closing it 
after him. 

Jerry. Mother mine! 

Miranda (turns quickly). Jerry! Well, did I ever! 
If you don't look nice. I declare to goodness, you're 
handsome as a picture, if I do say it. 

Jerry (pretending to be embarrassed). Oh, Miss 
Miranda; how embarrassing! Think it's a good one? 
(Goes to her and kneels by her chair.) 

Miranda (feels the cloth of his sleeve). Yes, it does 
seem like a real good piece of goods. I declare, I'm 
prouder'n ever of my boy. 

Jerry (putting his arm around her). Gee, how you 
spoil me. 

Miranda. I ain't worrying. You can stand a whole 
lot more spoiling. 

Jerry (rmth his arm still around her, and looking 
into the fire). That fire looks good. It's beginning to 
be cold nights. (Suddenly jumps up.) I'm terribly 
late. I'll get these clothes off and go to work. 

Miranda. No, I told Bill to do the chores tonight. 
Everything's done. (Rises.) You just sit down and 
we'll have supper. 

Jerry (putting the chairs around the table). A reg- 
ular holiday. 

Miranda. Well, you deserve it. You work like a dog 



68 MOTHER MINE 



all the time. Bill says we never had a man who could 
do more. 

Jerry (simply). I am glad if you are pleased. I'm 
going to make good for you. Oh, I bought you some- 
thing. It's the best I could find. Sometime we'll have 
something swell from Boston. (Takes a little package 
from his pocket and hands it to her.) 

Miranda (delighted). Now, Jerry, you oughtn't to 
spend your money on me. (Opens package and takes 
out a small lace collar.) Well, ain't that handsome! 
Let's see; how does it go. (Tries it on.) There. 
That's it. Bless your heart. (Starts to take it off.) 
Jerry. Keep it on. You look just like a little queen. 
Miranda. Jerry. 

Jerry. Well, you do to me, all right. And if I 
don't look like his royal nibs or something, then I'm 
no judge. Come on. We'll have supper in state. 
(Makes an elaborate bow.) If your most gracious 
majesty will permit me — (Offers her his arm.) 

Miranda. Jerry, you are the beatenest boy I 
ever see in my life. Stop your nonsense and let me 
bring in the tea. 

Jerry (leading her towards the table). What, 
madame! You do menial service? Nay! (Puts her 
in chair at table and exits, right.) 

Miranda (shaking her head). Did anyone ever see 
the like! 

Jerry enters from right with tea. 

Jerry. Gee, I'm hungry. I have an idea I was born 
that way. 

Miranda. Light the lamp, Jerry. 

Jerry (lights lamp on center of the table). Days'll 
soon be getting shorter, won't they? 

Miranda (with a sigh). Yes, they will. (They cat 



MOTHER MINE 69 



supper during the following scene.) Jerry, what shall 
we do after you're cleared of this cliarge a-hangin' over 
you? 

Jerry. Why, mother mine, I'd like to try to get 
work in the city. I'd like to take care of you. I can't 
help dreaming of that little kitchenette. 

Miranda. Jerry. I've been thinking a lot lately, 
and I've made up my mind. I'm going to sell the farm. 

Jerry. No, not yet. Wait. 

Miranda. Well, dear, we'll see. But I'm thinking 
we had better go to Boston. 

JerrV (in surprise). To Boston.? 

Miranda. Yes. There's nothing to fear. You are 
innocent, and with the money from the farm we will 
hire the best lawyer in the country to prove it. Will 
you go? 

Jerry. Yes. With you, I'll face them gladly. I 
was so all alone before, it made me afraid. I was a 
coward. But now — with you behind me — gee! But 
suppose — they convict me. It's only my word, you 
know. 

Miranda. They can't, if you're innocent. The Lord 
will be on our side. But even if you were convicted, 
I'd wait for you in the little home in Boston. It would 
be hard to do without you, now I've found you. But 
I could wait. 

Jerry. Oh, you wonderful little mother mine ! Yes, 
I want to go back. I'll write Mr. Crockett I'm coming 
as soon as I'm free here. 

Miranda. I 'low Joe Payson has already let them 
know you're here. 

Jerry. Well, I'll wire Mr. Crockett tonight, any- 
way. My, I feel relieved. It isn't nice to feel that 
you're hiding, even when you're innocent. Gee, I could 
shout with joy. I always thought I was unlucky, but 



70 MOTHER MINE 



I'm the luckiest fellow in the world — to have found you. 
Oh, boy! what a love nest of a home we'll have. {Hugs 
her.) Say, I'm going to tell you a secret. You're the 
first to know it. I know another couple who are going 
to have a love nest; but not just like ours. 

Miranda. I want to know. Somebody around here? 

Jerry. Yep. Somebody you've been seeing every 
day. In fact, you've helped their little affair along. 

Miranda {astonished). I — have — helped — {sudden- 
ly startled). You don't ever in this world mean — ? 

Jerry. Sure. You've guessed it. Lillian and Jack. 

MjRANDA {with a gasp). What do you mean.'* 

Jerry. They were married this afternoon. 

Miranda. I don't believe it. 

Jerry. You'd better. Mary and I stood up with 
them. 

Miranda. Jerry MacConnell ! 

Jerry {grinning). Present. 

Miranda. Stop your nonsense before I box j^our 
ears. Tell me what you mean. 

Jerry. Well, they asked u-s to see them married, 
so Mary planned her visit to her cousin, and I planned 
my trip to town, on the day the great event was to 
take place. 

Miranda. I want to know! Clever crowd, aren't 
you? 

Jerry. Oh, so-so. Don't be cross, please. You've 
helped more than anyone else, yourself. 

Miranda {exasperated). What do you mean, I've 
helped ? 

Jerry. Haven't you guessed what they were writing 
and leaving here every day? 

Miranda. Jerry ! They never — they weren't ! 

Jerry. Sure; love letters. They planned the whole 
thing that way. I supposed you were wise by this time. 



MOTHER MINE 71 



Miranda. Maybe I oughter been, but I ain't. Well, 
a nice mess you've all got me into. 

Jerry. I haven't done any — 

Miranda (interrupting). Don't talk to me. Take 
your hat and march down to Deacon Whitcomb's and 
bring him and Cynthy up here. 

Jerry (aghast). Oh, please! 

Miranda, And while you're gone I'll telephone to 
the store for Joe Payson. 

Jerry. Oh, for the love of — Don't tell them now ! 
The Paysons think Jack has gone hunting, and the 
Whitcombs think Lillian has gone to visit her aunt. 

Miranda. I want to know ! Well, they'll soon know 
their mistake. 

Jerry. Oh, let them have their honeymoon. 

Miranda (scornfully). Honeymoon! When you 
come back you can stop in and bring Mary along, too. 

Jerry. Miss Miranda, please don't drag her into it. 
Why she's as innocent as — as — (Pause.) 

Miranda. Well, maybe she is. I guess we'll leave 
Mary out of it if we can. I know she never would have 
done it if it hadn't been for the rest of you. Jerry, 
I'm ashamed of you. 

Jerry. But — gee whiz, now, little mother. Why 
shouldn't they get married.'' 

Miranda. I ain't saying they shouldn't. It's the 
underhand way you've all acted. 

Jerry. We had to. We couldn't pull it off any 
other way. Their fathers act like a couple of — 

Miranda (sternly). Jerry! Do you think you are 
in any position to criticize others.? 

Jerry (meets her eyes; his drop). No, ma'am. 
(Draws a long breath.) Gee, you can hit straight out 
from the shoulder. I'm sorry. I didn't think you'd 
care like this. I thought it was a good joke. 



72 MOTHER MINE 

Miranda. Your idea of a good joke may change 
before this blows over. You march along to the 
deacon's. 

Jerry {quietly). Yes, ma'am. {Takes his cap and 
exits, center.) 

Miranda {to the portrait). Land sakes, Hiram, ain't 
young folks the beatenest now-a-days? {Begins to 
clear dishes from table. Lewis knocks on center door.) 
Come in. 

Lewis opens center door, enters and closes door, 

Miranda {surprised). Oh — 

Lew^is. Good evening, Mrs. Peasley. You don't re- 
member me.? 

]\IiRANDA {puzzled). Why — I — {Suddenly, with a 
gasp.) Good land, yes. I do. 

Lewis. I was down this way again, and I thought 
I'd drop in and {significantly) finish the family album. 

Miranda. I want to know! 

Lewis. You don't seem especially pleased to see me. 

Miranda. Well, you took me by surprise. Set 
down; do. Been to supper.'' {Cuts a piece of pie.) 

Lewis. Oh, yes. Some time ago. {Sits by center 
table.) 

Miranda. Well, have a piece of pie. {Puts pie on 
a plate.) 

Lewis. Madam, I never refused a piece of pie in my 
life. I'm not going to begin now {she hands him a 
piece), especially when it looks like this. {Starts to eat 
it.) Hm! Madam, my hat is off to you. I'm your 
slave forever. 

Miranda. That so? {She eyes him uncertainly and 
tries to speak carelessly.) Well, did you find your boy 
you was looking for when you was down here before.? 

Lewis. No, I'm still looking. But I've got him 



MOTHER MINE 73 

located this trip. This time I'm going to get my hands 
on him. 

Miranda. I want to know. It never pays to be too 
sure. 

Lewis. What about that boy of yours.? Still got 
the same one? 

Miranda. Yes. 

Lewis. Where is he tonight.'^ ' 

Miranda. I've sent him on an errand. 

Lewis (smiles). History repeats itself. Sure it isn't 
two errands? One down that way and one over this? 
(Points left and right.) 

Miranda. No, it's only one this time, and I wish to 
goodness it was clear to California. You may take a 
notion he's the boy you want. Have some more pie? 
(Takes his plate.) 

Lewis. No, thank you, madam. I only wish I could. 
I regret my incapacity, I assure you. 

(Joe knocks on center door.) 

Miranda. Come in. 

Joe opens door and enters, leaving door open. 

Joe. Good evening, Mirandy. 

Miranda (coolly). Good evening, Joe Payson. 

Joe (to Lewis). You here? Hasn't Jerry come yet? 

Lew^s. No. 

Joe. I told you, Mirandy. 

Miranda (indifferently) . Yes, you did so. 

Lewis (to Miranda). I located your boy down to 
the city this afternoon and had him arrested. The 
constable is on his w^ay out here with him now. 

Miranda (unperturbed). I want to know. 

Joe (surprised) . It doesn't seem to worry you. 

Miranda. It doesn't. But it's real kind of interest- 



74 MOTHER MINE 



ing. Was there something special you wanted to see 
me about, Joe Pay son? 

Joe. I want to make one more appeal to you to give 
me the first chance on this farm. I don't think you're 
treating me right. We've been good neighbors, and 
you really promised. 

Miranda. Yes, I know, Joe. But you've been un- 
derhanded, and I can't tolorate that. 

Whitcomb and Cynthia enter, center, followed hy 

Jerry. 

Whitcomb. What's the trouble, Mirandy.^^ 

Miranda. Hasn't Jerry told you? 

Cynthia. Not a word. Jest that you needed to 
see us. 

Miranda {dryly). I guess he didn't dare. 

Lewis {suddenly stepping forward). Jerry Huckins ! 

Jerry {with a gasp of surprise). Lewis! 

Lewis {looking at him in astonishment). Wh — 
where — look here. Weren't — weren't you arrested this 
afternoon down to the city? 

Jerry. I was not. 

Lewis steps forward and puts his hand on Jerry's 
shoulder, just as Lettie enters, center, followed by 
Mary and Martha. This occurs without any pause 
in the dialogue. 

Lewis {continues). Well, you're arrested right now. 

Lettie {triumphantly) . I always- knew he would be. 

Jerry {looking at Miranda). I'm sorry, little 
mother. We were just too late. 

Lewis. By thunder, I'd like to know who's been ar- 
rested down to the city. But don't let it worry you. 
We'll soon know. I'll just wait here until my man 
Blunt comes. 



MOTHER MINE 75 

Whitcomb. Lettle, you look almost ready to burst. 
Why don't you lead off? 

Lettie {indignantly). Me? I ain't got nothing 
much to say. 

Miranda {dryly). Well, it's the first time. I don't 
suppose you come over here for nothing. 

Martha. No, she didn't. She says Jerry and Mary 
were riding around together down to the city this 
afternoon. 

Lettie. Mattie Wilkins was telephoning me, and 
she says she — she see them. 

Martha. Mary has just come from her cousin's and 
she won't say a word. I wish to goodness her father 
wasn't away for a whole week. I don't know what I'm 
going to do. I can't make her talk if she won't. 

Lettie. I always said Mary would take up with a 
crooked stick. 

Miranda {sharply). Be careful who you're calling 
a crooked stick. 

Lettie. Ain't I just seen him arrested with my own 
eyes ^ 

Miranda. You'll see something else before you get 
through. 

Lettie. I can tell you something else I've seen that 
the rest of you ain't. {Pause.) 

Lewis. Oh, don't keep us in suspense. Go to it! 
Don't leave anything out. 

Lettie {tartly). I ain't talking to you. 

Lewis. I'm getting the benefit of it just the same. 
And let me tell you, I know a vaudeville agency that 
would pay you a fortune to join their circuit. 

Lettie. Do tell ! Well, you better recommend Mary. 
Jerry has been teaching her a lot of new fangled dances 
out in the barn when they weren't nobody around. 

Jerry. That is to say, nobody but Miss Holcomb. 



76 MOTHER MINE 



Martha {with a gasp). It's true, then? 

Jerry. Yes, ma'am, it is. It's my fault. 

Mary. No, it isn't. It's mine. I asked him to do it. 

Whitcomb {with a self -satisfied air). You got to 
keep your eyes pretty sharp on young folks if you don't 
want them to get into mischief. 

Miranda. I don't care how much they've danced. 
Young folks can't work all the time, even if you 
people think they oughter. And, deacon, you may have 
a sharp eye yourself, but just the same, Lillian and 
Jack were married this afternoon. 

Whitcomb {amazed). How do you know? 

Miranda. I was going to leave IMary out, but I 
guess we'd better have the whole story. Jerry and 
Mary stood up for them. 

Lettie. Was there ever such goings on in a village ! 

Lewis. Never since Uncle Si signed the pledge. 

(Blunt knocks on center door. Jerry goes to open it.) 

Miranda. For the lands sake, who's coming now? 

Jerry opens center door and Blunt steps inside, 
followed by Jack and Lillian. Jerry closes the door. 

Blunt {triumphantly). Here he is, Lewis. And 
gosh all scissors, I had a time gettin' him here. 

{General surprise is indicated with exclamations of 
^^JackV and "Lillian!'* Jack, disgusted, stands at 
one side. Lillian goes to Cynthia.) 

Jerry. My G — {suddenly looks at Miranda and 
puts his hand over his mouth.) Mercy sakes ! 

Lewis. Blunt, you're a star on the job if there ever 
was one. 

Blunt. I reckon so. And if you knew the time I 
had gettin' them over here. They was jest married, 
and they hadn't any idea of comin' along. 



MOTHER MINE 77 



Lewis (laughs). You're a genius. 

Whitcomb (to Lillian). Well, young lady, what 
have you to say for yourself? 

Lillian (half defiantly). Guess I'll let my husband 
speak for me, dad. 

Jack (to Joe). Dad — it seems I'm arrested — 

Joe (quickly). It's a mistake. 

Jack (decidedly). Yes, the same mistake the deacon 
made. 

Whitcomb (surprised). What.^* 

Joe. What do you mean.^^ 

Jack. I mean you arrested the wrong man. It 
wasn't Jerry that the deacon saw coming out of your 
store window, dad. It was I. 

Lettie. ]Mercy on us ! 

Joe. Jack, what are you saying.'*. 

Jack. It's the truth. I needed the money to get 
married, so I took my liberty bonds. And the package 
you missed I'm sure you will find in the back of the 
safe. I knocked it off the shelf and didn't take time 
to put it back. 

Lettie (excitedly). Jack robbed his own father! 

Joe (savagely). No, the bonds were his. 

Whitcomb. The mistake was mine. 

Jack. Jerry and' I were dressed alike. It was the 
red cap. We both wore one. Natural enough mis- 
take. I'm sorry for all the trouble, dad, and the worry 
Lo Miss Miranda. But it seemed the only way. 

Lettie (triumphantly). Love laughs at locksmiths! 

Jack. And believe me, Jerry is a brick, and I hope 
I'll always have his friendship. Miss Miranda, will you 
forgive me? 

Miranda. Land ! You bad boy ! But I'm so happy 
now Jerr}^ is freed of that charge, I'll forgive most 
anyone. 



78 MOTHER MINE ' 

Jack. Dad! (Holds out his hand.) Be a sport! 

(Joe hesitates a moment, then shakes Jack's hand. 
Lillian crosses into Cynthia's arms.) 

Joe. I suppose, deacon, this makes the breach be- 
tv/een us wider than ever. Of course you blame Jack 
for stealing your daughter. 

Whitcomb. No, I don't. She didn't have to marry 
him if she didn't want to. I take it she wasn't kid- 
napped. Now, mother (turning to Cynthia), it's no 
use to set there cryin' over this ! What we'd better do 
is to see about getting them home. 

Lewis. Wait. I want you to hear what I have to 
say about this boy, Jerry. 

Lettie (eagerly). Yes, let s wait. 

Miranda (puts her arm around Jerry). He's my 
boy. You can arrest him if you want to. I'll go to 
the city and I'll fight for him, if I spend every cent 1 
got on earth. I'll show how much I love him and how 
much he means to me. 

Lettie. Mirandy Peasley, have ye gone stark mad? 

Lewis (to Miranda). My dear madam, no need of 
all this excitement. (To Jerry.) Jerry, my boy, I 
congratulate you on such a friend. If you had only 
understood, we might have avoided much trouble and 
delay. Mr. Crockett sent me after you and he's been 
trying to find you ever since you left. We found 
out you w^ere innocent, and he wants you to come back 
to your old position on the paper. If you hadn't run 
away in such a hurry everything w^ould have been all 
right. And, Jerry, if you had been guilty, I wouldn't 
have wanted to make you any trouble. I liked you too 
well for that. 

Lettie. Well, I want to know ! 

Jerry (limply). Can you beat that? 



MOTHER MINE 79 



MiRA-ND A (half laughing, half crying). Jerry! Isn't 
it just wonderful? (Turns indignantly to Lewis.) 
And you knew this when you come in here tonight and 
got me all worked up. I should think you'd be ashamed 
of yourself! 

Lewis (with a grin). You put it over on me. I 
had to have a come-back. 

Jerry. Mother, shake hands with my friend, Mr. 
Lewis. 

Miranda (crosses to Lewis). Pleased to meet you. 
(They shake hands.) 

Lew^is. And now about a little business of my own. 
You've received ni}'^ letters about buying your farm? 

Miranda (in surprise). You? 

Lewis. Yes. The railroad is coming through here. 
I'll have to give Jerry's friend a square deal. The rail- 
road won't be through for about two 3^cars. If you'd 
like to sell, I'll give you a good price. 

Miranda. Well, I'll sell 3^ou my farm, Mr. Lewis, 
because you've given me happiness that money can't 
buy. (To Joe.) I'm sorry, Joe, but you'll be gettin' 
a good price for your land. And now that your children 
have united the families, you and the deacon had better 
let bygones be bygones, I say. 

Cynthia. I say so, too. 

Whitcomb (to Jack). You and Lillian come over to 
the house. Miss Miranda's home isn't any place for us 
to settle our difficulties. 

Miranda:. No, but it's a good place for something 
else, deacon. 

Whitcomb (turns to Joe and holds out his hand). 
I reckon that's right. Joe, will you come over to the 
house with our children and talk things over? 

Joe (grasps Whitcomb's hand). I'd be glad to, 
deacon. 



80 MOTHER MINE 



Lettie. Well, did anybody ever? 
Lillian {runs to her father). Oh, father. How- 
wonderful ! 

Whitcomb {opens center door). Coming? 

(Cynthia, Jack, Lillian, Joe and Whitcomb go 
out center door, and are closely followed hy Martha, 
Lettie and Mary, with a brief hut hearty ''good night.''* 
They leave the door open.) 

Blunt {about to follow). Through with me? 

Lewis. Yes, Blunt, you can beat it. 

Blunt. Good night! {Goes out center door, closing 
it after him.) 

Lewis. I'll be going, too. You'll come back to 
Boston to work, Jerry? 

Jerry. Will I? I'll say so. And I can't tell you 
how much I appreciate your coming down here after me. 

Miranda. Your friend must stay over night with 
us, Jerry. We've lots of business to settle. You go 
down to the Eagle House and get his bag. 

Jerry {delighted). Sure. Will you, Mr. Lewis? 

Lewis. Do you think I would refuse. Miss — er — ■, 
Mrs. — {hesitates). 

Miranda. I don't wonder you're mixed. I am Mrs. 
Peasley. {Points to portrait.) That was my husband. 
But I used to teach school over on the cross-roads and 
the children all called me Miss Miranda. Have you had 
any supper, really? 

Lewis. No such luck. 

Miranda {starting right). You come i-ight up- 
stairs with me, and then we'll — 

Jerry {joyously). Take it from me, she'll give you 
some feed. 

Lewis {heartily) . I don't doubt it. 



' MOTHER MINE 81 

Miranda {to Jerry, as she and Lewis go to stair- 
way.) You go along after his bag. 

(Miranda and Lewis exeunt, stairway.) 

Jerry. Yes, ma'am. 

Mary gently opens the center door, comes in and 
closes it. 

Mary {softly). Jerry. 

Jerry {turns and sees her). Yes, Mary. 

Mary. I'm awfully glad. 

Jerry. Glad I'm going away.^^ 

Mary. No; not that. 

Jerry. You've liked to have me around.'' 

Mary. You know I have. 

Jerry {seriously). Gee, if you knew what that 
means to me. It's been great to be friends with you. 
And we have been good friends, haven't we? 

Mary. Yes. And I'm proud I'm a friend of yours, 
Jerry. 

Jerry. Proud.? Of me.? 

Mary. Of course I am. And so is ]\Iiss Miranda. 
That's what I meant about being glad. I'm so glad 
for you and Miss Miranda. 

Jerry. Mary, you and Miss Miranda have made 
me all over. I never knew anyone like you before, and 
my whole object in life is going to be to make myself 
worthy of you tAvo. If you are proud of me now^^ — just 
wait. 

Mary. But I'm not going to see you any more. 

Jerry. Don't fool yourself. It doesn't take long 
to get to Tapley Village if a fellow wants to come. 

Mary. Do you want to come? 

Jerry. Want to come? The only consolation in 
going is the thought of coming back. Coming back 



82 MOTHER MINE " 

over and over and over again, until the time comes 
when I can take you with me. 

Mary. Take me.^^ 

Jerry. Will you come? 

Mary. I^m not sure I know just what you mean. 

Jerry. I want to study and work until I am worthy 
of you. It'll take a good many years, I suppose. But 
I could work so much harder, and so much better, and 
be so much happier, if I knew that at the end of those 
years you might love me just a little. 

Mary (frankly). You haven't got to wait two min- 
utes for that, Jerry. 

Jerry. Mary ! And sometime you think you could 
be my wife.'' 

Mary. Don't make it too many years. 

Jerry (throwing his arms around he?'). Sweetheart ! 

Miranda comes down the stairs. 

Miranda (enters hy stairs). Jerry! What in the 
name o' common sense? 

Jerry. Listen, mother mine. Some day Mary is 
going to live with us in the love nest. 

Miranda. I want to know. I ain't a mite surprised. 
I wonder you don't take her right along now. Young 
folks don't stop to consider their elders any more. 

Jerry (anxiously). Don't you like the idea? 

Miranda ('putting an arm around each). Do you 
need to ask me that? As much as I love Mary? As 
much as I love you? 

Mary and Jerry (together^ hugging her). Little 
mother ! 

Mary. Just think! I'm going to live in Boston 
sometime. 

Miranda (smiling). Yes, I reckon you've loved the 
right kind of a beau. 



MOTHER MINE 



83 



Mary. And I'll ride on the elevated. 

Jerry. And go to every show in town. 

Mary. And I'll have silk petticoats that rustle. 

Jerry. And we'll just dance through life together, 
like this. {He seizes her and they dance around the 
room and out the right door.) 

Miranda (looks after them and shakes her head). 
Did you ever! Did you ever! (Turns toward the pic- 
ture, walks toward it smiling and speaks softly.) Isn't 
everything just beautiful, Hiram? I reckon I'm the 
happiest little mother in the whole world. 

CUETAIN. 



Way Down Alon^ 

BY 

Gladys Ruth Bridgham 

A COMEDY of Cape Cod life, in prologue and 2 acts; 
7 males, 3 females. Time, 2 hours. Scenes: 2 in- 
teriors. 

CHARACTERS. 

Cap'n Enoch Denning Skipper of the "Lila Beile" 

Cap'n Perez Nickerson.Slvipper of the "Nellie Darling" 

John Nelson A Business Man 

Thomas Bangs A Doctor 

Joe Cruger Nickerson's Nephew 

Tony Alve Town Crier 

Oliver Hastings Nelson's Valet 

Ketury Bangs Tom's Mother 

Margaret Mathewson A School Teacher 

Betty Nickerson's Ward 

Cap'n Enoch, a stern seafaring man, God-fearing 
but remorseless in vengeance, devotes eighteen years 
of his life to a plan for bringing retribution upon 
an enemy, and thereby comes close to wrecking the 
life of one whom he loves dearly. Betty, for whose 
sake his vengeance was designed, succeeds in win- 
ning a victory for his better self. And just as he 
thinks, in his despair, that his foster-child is about 
to turn from him for life in the city, she elects to 
remain with her childhood friends, way down along. 
A rugged, yet tender and quaintly humorous, story 
of the joys and sorrows of a group of Cape Cod vil- 
lagers, dramatically told by a writer famed as a 
skilled stage delineator of the people who dwell way 
down along. The characters are strong, sympathetic 
and well contrasted. The settings, which show the 
living-room of Cap'n Enoch's home and the inside 
of Harbor View Lighthouse, are not difficult to stage 
and can be made very effective. Suitable for ama- 
teurs with any degree of experience. 

Price, 35 Cents. 



T. S, Denison & Company, Publishers 

623 South Wabash Avenue CHICAGO 



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